"Why not see this movie twice? Even if you don’t like it, it’s worth revisiting. Films like this don’t come along that often, or perhaps ever. Granted, I suspect that it’s far more exciting for filmmakers than for general audiences, just because Cuaron did with this movie what we all wish we could do: he took his time. It’s easy to make comparisons to Proust, except that the film isn’t really Proustian; it isn’t fluid enough, it doesn’t resemble the memories it’s based on but the real events that begat them. It’s closer to Knausgard in that regard, but let me dispense with literary comparisons because this is a movie with a capital M: it’s been declaring itself so very loudly all fall, and I’m happy to join the chorus."

"By 1972, I’ve finished up in art schools, hitchhiked around the country, and I moved to Providence, Rhode Island. In the mid-’70s, I was in a band with Chris Frantz from Talking Heads, and I wrote a couple songs that stuck during that period, including “Psycho Killer.” We also did a lot of cover songs—Al Green, Velvet Underground, the Sonics, the Troggs. The Velvet Underground were a big revelation. I realized, Oh, look at the subject of their songs: There’s a tune and a melody, but the sound is either completely abrasive or really pretty. They swing from one extreme to the other. “White Light/White Heat” is just this noise, and then “Candy Says” is incredibly pretty but really kind of dark. As a young person, you go, What is this about?"