"I think this is one of the best war movies ever made. It covered the heroics of World War 2 which we’re all familiar with from the greatest generation, but it was the first movie to ever capture the absolute terror of being a soldier in the war. It was okay to be absolutely terrified during that world war. Every other movie is mostly about showing bravery in such an unrealistic context, it’s like every soldier that fought there died gracefully. But I know people who fought in that war who saw that movie when it came out, and it brought back a lot of memories and fears and terrors. You weren’t encouraged to get help after the war for the trauma back then. And that movie did more for a lot of those soldiers and veterans, and it is just great filmmaking."

"Antonioni’s great L’avventura, La notte, and L’eclisse are yet another linked trilogy, though their stories and characters are as disparate as those of the Rossellini trilogy. It may be the director’s hyper-refined architectural style that we remember most in this film, people lost in its urban landscape. But Antonioni was also very much a child of Italian neorealism, as we can trace in his early films and documentaries. The long, wordless sequence, devoid of the main characters, that concludes this film is justly cited as a masterpiece of visual alienation and loss. But the hectic frenzy of the Turin Bourse sequence, a near standalone set piece in the middle of the film, shows the director at his documentary best, even as the camera smoothly glides through the rushing masses of stock traders with a singular determination of its own mission"

"For me this is Anna Magnani’s best performance. She’s unbelievable in it. Just seeing this woman put herself in this situation and work the way she has to work—though we never doubt why—creates an unbelievable amount of empathy. There’s empathy in that world, and also poetry. That long shot where she’s walking on the outskirts of Rome and there are those lights behind her and she’s owning the fact that she does what she does—it’s not portraying her as this pathetic, sad woman who is forced to do this because life is so hard. It’s still celebrating her life. She’s not living in her own tragedy. There’s a connection that Pasolini always had to his characters that was inspiring, and he was never going to judge people with a normal ideological or moral compass."

"I was a weekend punk. It has got to be in the top ten best albums ever. It's one of those records that your parents would hate so you loved it. The whole rebel thing was the main thing. 'Pretty Vacant', when I first heard that I thought bloody hell... Again, my best friend, he was into The Sex Pistols before I was, and this was one of the first bands that he switched me over to, I thought "Yeah, they're pretty good". [laughs] We weren't early punks or anything, we weren't on the crest of it. We were in Basildon, Essex, so we were two years too late. I could never make a record like that, I wouldn't know where to start, so I have admiration for people who can do that kind of stuff"

"Set in Reykjavík at the turn of the 20th century this novel has a Chaplin-esque quality in its celebration of how the good values of society are to be found among those clinging to its lowest rung. Álfgrímur is an orphan living with an old couple who have opened their small farm to the misfits and the meek. A nearby graveyard becomes the boy’s playground, and it is there he is discovered to have “the pure tone” while singing at funerals of the lost and lonesome. From their gravesides he goes into the world to become a singer. It is my favorite book by Laxness, not least because it is his attempt to understand why someone like himself, born in a town of 10,000 people, found the right melody to transform the stories of a small world into world literature."