"I went to see Walter Lure [Heartbreakers guitarist] play L.A.M.F. a couple of weeks ago. I went to this by myself in downtown LA. There's five dollar parking across the street, and I parked my car. I went in and saw Pirate Love, Born To Lose, Chinese Rocks. That's all I needed. It was great. This record made a huge impact on me. Johnny Thunders' playing and Jonsey's [Sex Pistols' Steve Jones] playing: I've played guitar ever since, and that's who I fashion my guitar playing after. I got to play in a band with Steve in the 90s [Neurotic Outsiders], and it was like a dream come true. I started playing guitar and he immediately recognised where I got all my riffs from!"

"Often, when I read filmmakers’ lists (including mine), I am frustrated by the absence of their contemporaries. The present is always the hardest to read, and no one will argue if you focus on masters of the past instead. But here are a few names, filmmakers whose work I have been lucky to follow since their beginnings; we’ve crossed paths, more or less frequently, but I have admired them constantly, also because they have been an inspiration. I feel I have had a dialogue with them, or with their films, and it is reflected in my own work. Edward Yang is gone, I miss him a lot, he invented modern Chinese cinema alongside Hou Hsiao-hsien, he was my friend."

"I loved when Criterion started making these massive box sets, like this and the Rohmer Six Moral Tales. The idea of including a second edition of a film you already love (in this case, The Killing of a Chinese Bookie; see also: Brazil) is genius and shows a complete mastery of the importance of supplements. I guess this is a fairly obvious and oft-cited pick, but oh, well. It’s incredible, and learning that the five films are included because they are the ones Cassavetes produced independently and that Gena Rowlands ended up owning the rights to was fascinating. Tricky rights issues can unfortunately cause masterworks to languish in undeserved obscurity, so the partnership that brought us this collection feels particularly monumental."

"Often, when I read filmmakers’ lists (including mine), I am frustrated by the absence of their contemporaries. The present is always the hardest to read, and no one will argue if you focus on masters of the past instead. But here are a few names, filmmakers whose work I have been lucky to follow since their beginnings; we’ve crossed paths, more or less frequently, but I have admired them constantly, also because they have been an inspiration. I feel I have had a dialogue with them, or with their films, and it is reflected in my own work. Edward Yang is gone, I miss him a lot, he invented modern Chinese cinema alongside Hou Hsiao-hsien, he was my friend."

"Often, when I read filmmakers’ lists (including mine), I am frustrated by the absence of their contemporaries. The present is always the hardest to read, and no one will argue if you focus on masters of the past instead. But here are a few names, filmmakers whose work I have been lucky to follow since their beginnings; we’ve crossed paths, more or less frequently, but I have admired them constantly, also because they have been an inspiration. I feel I have had a dialogue with them, or with their films, and it is reflected in my own work. Edward Yang is gone, I miss him a lot, he invented modern Chinese cinema alongside Hou Hsiao-hsien, he was my friend."