"Black Moon is a quintessential “surreal” film. What interests me is that so many films that we would label surreal were made in the sixties and seventies, decades (and many art movements) after surrealism’s inception. By the time so many of these surreal films were being made, the prevalent trend in art was toward conceptualism and minimalism, approaches aimed at stripping away the non sequitur . . . which is, in essence, the guiding principle at work in Black Moon. What is also interesting to me is the tenor of most of these films. While Zéro de conduit captures a certain joie de vivre and sense of humor, which, I feel, is indicative of the early surrealists, the nature of many later surreal films generally seems much darker—more Max Ernst than, say, Magritte."

"Some people say that a record or a film changed their life. In my case, it was this book, back in 1990. My hardback copy has a Biro inscription in it: “To Nick love Richey, James and Sean, 28th September 1990”. We’d all read a review in the NME and knew immediately that it was exactly the kind of thing we’d been searching for. Something to link music, art, culture and protest; an alternative history that segued those seemingly disparate elements into one text. It persuaded us that we could attempt to create art that just might deeply resonate with people in the way that the book had resonated with us. Without resorting to cliche, Lipstick Traces is the band's Holy Bible; our cultural equivalent of the Good Book"

"Bergman as a fabulist—my favorite—is absolutely mesmerizing. These two films have the primal pulse of a children’s fable told by an impossibly old and wise narrator. Fanny and Alexander is Dickens, Hans Christian Andersen, and John Calvin rolled into one. Both tales are ripe with fantastical imagery and a sharp sense of the uncanny. Also, I am often surprised at how the humor and comedic elements in The Seventh Seal seem to be overlooked in favor of its reputation as a quintessential “serious” art film."