"The Eagles are fucking bad ass. I've always been a fan of multiple voices in bands and the Eagles are another example of that. Classy musicians who fucking earned their bones through backing up other musicians. I love that documentary that they did ‘The History Of The Eagles’: the drugs, the fights, the stardom, that's just fascinating. I always really admired that band for its uniqueness and the quality of the records they made, the songwriting, the musicianship. This album and that particular track... it's like bigger than they are. Even though that's them. I mean, sometimes musicians, the song and the actual thing that gets recorded at the production, all three of those things line up at the right time and you get that magical thing, bigger than any one of you, even all of you together... it just goes a little step above. It's the whole thing: music is not about perfection, the closest you're gonna get to reaching perfection is the pursuit of trying to get there, I guess. But every once in a while, there's one song or an album that just kind of poke out, that just goes above the ceiling. That title track does that. It's a very magical song."

"Malle is one of my favorite directors. He flirts with genres, tries all sorts of things, travels all around the world, refuses to let go of documentary, his first love (or first milieu)—although his fiction movies are acclaimed. This film, close to his skin and past, is a strong coming-of-age work, set in France under Vichy. Often, in the middle of the day, I think of scenes from Au revoir les enfants, moments of grace like the restaurant sequence, with the mother. French officers burst into the place and ask for citizens’ papers. They find an old Jewish man dining quietly at his table and start to reprimand him, asking him if he knows how to read; the place is, of course, forbidden to “youtres,” as the young French officer says insolently. Suddenly, every patron at the restaurant starts yelling at the officers, insulting them (“Collabo!”), forcing them to leave. And then, among the clientele, German officers stand up and order them to exit the place. Strong turning point. That is exactly Malle, in there, striking again. Contrast, antagonism, emotions, brute emotions. The rest is craft and mastery. But emotions. That is what he aims for. That is what we get."