"Well that was a big influence for their take on Americana, and I just like the juxtaposition of their extreme Britishness and singing about Oklahoma. And it's funny, Ian Svenonius has this whole thing about how Americans only accepted black music once it was taught to us by our British overlords. The Beatles and The Stones lacked the context to realise that maybe it's inappropriate to take on this Southern accent. I feel like Ray Davies has a little more tact, like, "No, I'm not going to sing like that!" A lot of the time I will sing in a kind of an English accent - not total English, but definitely more English than country, because my context is growing up and listening to The Beatles and thinking I like the way John Lennon sings it. It's easier not to sing a hard "r", it always sounds country when you sing an "arr". I would never do a Jamaican accent. I'll leave that to Sting. Once again, see we forgive Sting, 'cause he doesn't have the context."

"I first saw two of my favorite personal documentaries in 1985 and 1986. Both greatly influenced me as a filmmaker. Ross McElwee’s Sherman’s March offered up a neurotic self-portrait of the filmmaker’s pursuit of Southern women, while in God’s Country, Louis Malle visits with struggling farmers in Glencoe, Minnesota, a town an hour away from the Twin Cities, where I was born and raised. Sherman’s March has enjoyed far greater acclaim and exposure, but God’s Country is ultimately the more sophisticated film. These are both portraits of human pathos. But where McElwee depicts seemingly wacky Southern women with a palpable sense of disrespect for his subjects, Malle interacts with equally extreme characters in the North and manages to express a profound sense of respect and admiration, enabling us to feel sympathy for them and, ultimately, for ourselves. No disrespect to McElwee though: one of my favorite reviews of my film The Royal Road (by Bérénice Reynaud in Senses of Cinema) calls it “a sort of butch reply” to Sherman’s March."

"Most of my recent essays include a reference to Jane Austen and to my mum. I read and reread "Persuasion" for its painful rendering of love that continues in the absence of an object, and for the delicacy of its heroine’s goodness. Anne, in the sadness of what she believes to be her ruined life, can be concerned to prevent a country walk from being spoiled by her sister Mary-- a marvelous depiction of obnoxiousness. And the happy ending is delicious."

"What other great films are there? Ah, for God’s sake, There Will Be Blood and No Country For Old Men. I saw those films that year, back to back. Just outstanding work by director, writer, producers, actors. Captivating, both men: Javier Bardem and Daniel Day Lewis — just iconic. Every time he steps on the stage, you know, you can’t take your eyes off the guy. And both films sit on the bookshelf as bookends, really, to that special year of film making."