"Simple storytelling at its best, character driven, beautiful and cinematic. The ending of that movie, if you’re not feeling good and your heart’s not twisted up and then melted back together then, I mean, I dunno, you don’t have a heartbeat. It’s one of the best feelings walking away from a piece of cinema. It’s all chalked up to really great characters. A really simple story, really. And that’s why I really enjoy it. It’s a beautifully… it’s a masterpiece. It’s a masterpiece of filmmaking in its simplicity. Its characters are lovely and tormented and flawed and beautiful and heroic. And I, again, love the themes of it."

"Horrors and desire, death and lust go hand in hand in Onibaba and Kuroneko, a perverse, sweaty double bill from Kaneto Shindo. I saw these two films at age ten, and they did some serious damage to my psyche. Both are perfect fables rooted in Japanese folklore but distinctly modern in their approach to violence and sexuality. As exuberant and exquisite as a netsuke carving, these atmospheric jewels show mankind trapped in a cosmically evil world. The tales seem to fit together so perfectly that they fuse into one as time goes by. Onibaba and Kuroneko make a perfect double bill for the second circle of hell."

"Horrors and desire, death and lust go hand in hand in Onibaba and Kuroneko, a perverse, sweaty double bill from Kaneto Shindo. I saw these two films at age ten, and they did some serious damage to my psyche. Both are perfect fables rooted in Japanese folklore but distinctly modern in their approach to violence and sexuality. As exuberant and exquisite as a netsuke carving, these atmospheric jewels show mankind trapped in a cosmically evil world. The tales seem to fit together so perfectly that they fuse into one as time goes by. Onibaba and Kuroneko make a perfect double bill for the second circle of hell."

"Robert's voice does the same to me as Antony's – it's all about vulnerability and power together. I also love Robert's playfulness in his language, in the way he makes music, and his humour. It's like he makes up his own rules. 

And to think of what he'd experienced: to have been this virtuosic drummer having to change his whole way of making music. He's always taking me on lots of different journeys when I listen to him. He also came to see us singing his songs live once, which was terrifying! But he was so generous and so full of warmth afterwards though, which just as I'd expected from his songs."

"“Redoubt” isn’t Matthew Barney’s finest work (“River of Fundament” would be on my top 10 of the decade list I haven’t bothered to make), but his control of rhythm, editing and non-verbal storytelling is unmatched. I wonder what it would be like if he made one of those Pixar shorts that play before features. As a rule, I generally try not to put movies by close friends on these lists but I’ve known Daniel Schmidt since we went to NYU together and couldn’t believe the leap forward he (and Gabriel Abrantes) made with “Diamantino.” I think these two would be a swell double feature. Speaking of double features…"

"“Redoubt” isn’t Matthew Barney’s finest work (“River of Fundament” would be on my top 10 of the decade list I haven’t bothered to make), but his control of rhythm, editing and non-verbal storytelling is unmatched. I wonder what it would be like if he made one of those Pixar shorts that play before features. As a rule, I generally try not to put movies by close friends on these lists but I’ve known Daniel Schmidt since we went to NYU together and couldn’t believe the leap forward he (and Gabriel Abrantes) made with “Diamantino.” I think these two would be a swell double feature. Speaking of double features…"