"C’mon. Is every scene in this movie perfect? Yes. I could watch this movie over and over on a loop. Actually, I’m pretty sure they do that on cable. It plays quite a bit. Meg Ryan is nothing short of magical in this performance. And the time lapses are, for me, what make this film really work — because we truly believe that this oil-and-water couple will stay together and they ought to. I sure hope they do in the sequel: When Harry Stayed With Sally."

"I was at Sundance for 36 hours this year and this was one of two movies I wasn’t going to leave without seeing. Lots of friends worked with Lynne Ramsey on this one, and told me tales of the production, and in other cases I can usually see such stories in the finished products. But not this one. This was its own untouchable thing, hovering far above from whatever means it took to make it, barely there and unbearably heavy at the very same time. I went to see it a second time opening weekend, and then listened to the score repeatedly until the movie itself was released on iTunes, at which point I let it become background music, playing on a loop as I drift around the house, hoping to subconsciously siphon off some of that tough magic."

"This was the point where Steve Miller set up his own studio and started recording in his own time. He lost himself in that process. I love his take on music – it's his own brand of psychedelia. It's very blissful on one hand, very groovy on the other. He created his own musical world and almost ends up referencing himself rather than taking influences from other people. I love it when an artist has a feedback loop to their own music. The first track, 'Song For Our Ancestors', is the one for me. It's soundtrack-y, incredibly evocative. It starts with a giant foghorn and this beautiful tremolo guitar that seems to emerge from the mists. Again, it's taking you somewhere, imagining this other world, albeit rooted in history rather than just imagination."

"I adore this song, my wife and I played it at our wedding and it’s a ringtone on my phone. Every now and then you hear something and think ‘I wish I could write a song like that, something that gets to the essence of what it means to be alive.’ I remember the first time I heard ‘Bittersweet Symphony’ on the radio and I was like ‘Damn, I wish I’d written that song.’ The strings work so well with Richard Ashcroft’s singing and lyrics, which sum up a lot of the complicated feelings you have as an individual trying to get through each day. It’s a perfect wedding of the two of them. It’s wrapped around this glorious production and the sound of the band is really minimal, it’s mainly the string arrangement, which of course was from The Rolling Stones. If they’d just cleared it ahead of time they probably would have done a 50/50 deal on the publishing, but they didn’t, it was too late and they didn’t have any control. The Rolling Stones didn’t need the royalties as badly! I also admire ‘Bittersweet Symphony’ from a producer’s standpoint because I love its simplicity. The drums are the same pattern over and over, I think it’s a drum-loop, for the bass it sounds like they got a two or four bar loop, because the chords don’t change, and the guitar overdubs are all textural, it’s just these blips, bleeps and little echoes flowing through the mix. It’s a brilliant soundscape, it doesn’t really sound like a rock song, where you have blazing, loud distorted guitar amps, it’s got this atmospheric vibe to it and I think that fits the lyrics and the singing perfectly."