"I don’t always love Parajanov’s roaming camera in this movie, but he settled down from Color of Pomegranates onwards. Parajanov’s love for the folk culture is quite infectious. The way that he loves everything on screen, I relate. And the winter mummers are so mysterious. He makes this Hutsul culture come alive and it’s so exotic. Now I know a lot about Carpathian culture and Slavic folklore so the movie doesn’t have a lot of mystery to me anymore. But the first time I saw these images that I couldn’t understand, I was completely conquered because he so clearly understood them [and] they were infused with some kind of meaning that just felt essential to me."

"Generally accepted as Mizoguchi’s greatest work, Ugetsu is based on supernatural Japanese folk tales by the celebrated eighteenth-century author Ueda Akinari. Mizoguchi is most concerned with a compassionate telling of human sorrow, and he finds plenty of substance in Akinari’s short stories. Infamously uncompromising, Mizoguchi was a perfectionist when it came to all aspects of the process. His visual compositions, the production design, the special effects, the lighting, the performances by the actors (especially Machiko Kyo, who adheres in this case to a more traditionally Japanese theatrical style of performance), and the sound design are all so finely tuned and executed, it’s as though Mizoguchi had the ability to be in multiple places at once."

"A dirty sexy rock & roll track from the future: that was my concept of it when I first heard it. At the time when he wrote it, it sounded pretty far out from anything he had written before. So, the challenge was finding an approach that would fit with the other songs we'd be doing. He'd write on a 12-string guitar mainly, so it always had a little bit of a folky element to it. It would sound like it came from a folk singer, but we knew it wasn't going to come out like a folk song so we would have to figure out how to break it down into a rock & roll context. Those are the things that would go through our heads as a band, and that one was, lyrically, summing up the whole Ziggy thing. You know: 'I'm an alien' and just the atmosphere around it. And when Mick Ronson did his solo on it, that was a new kind of solo. I think he used an echoplex thing, where it sort of went round on a tape machine and kept going and going and then he played on top of it – and it was pretty freaky! Pretty far out to play along with! The whole thing sounded as big as the universe while you were playing, but you had to keep grounded, keep that solid beat going and not be affected. Then when we heard it back it was like 'wow!' It went to the stars, but we still had our feet on the ground."

"I've got a great friend, Todd Robinson, who runs a shop called Luna Music in Indianapolis, and we've been on lots of road trips together in America over the years. We both bond over music like this, stuff that has an American alt-psych-folk-rock feel. I find it a really appealing sound, and it's usually lifted by a great voice. Gold Leaves have that with Grant Olsen, who has such a beautiful voice. It's part beautiful, part-weary, part-determined, part-resigned. The music, too, is all a bit casual on the outside, a bit Lee Hazlewood, a bit Scott Walker, a bit melancholy, but it all comes together into something really special. We played this driving down the Pacific Coast Highway. It was perfect.
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"Throughout my writing life I have relied on Marina Warner to guide me through the hidden realms of literature and culture. She has a wast knowledge of folk stories, religious tracts, legends and classical works from all points of the globe and her analysis of how they continue to be present in our lives and work is always inspiring. In Stranger Magic she tells the story of how Scheherazade’s tales in The Arabian Nights were embraced and appropriated by western culture without ever loosing their original power. As I am working my way towards a new novel which includes the influence of Arabic culture on medieval Icelandic writing Warner has once again provided me with her keen insight into the mechanisms of how stories travel."

"This one's not quite as contemporary as Electrelane – in fact, that's putting it mildly! It's an old folk song that dates back to the seventeenth century, so it's been passed down through the generations. “This is the version that fits the mood of this collection of songs the best I think. It's another one about losing somebody; it's about a young woman who's lover has been kidnapped by a press gang and taken out to sea and she's not going to see him again - it's a terrible, terrible tragedy. “Steeleye Span are a funny band; they came out of a scene that's not too far removed from Kevin Ayers and that electric folk movement of the late ‘60s and early ‘70s. They evolved into something that perhaps wasn't so cool later on - there's a record called All Around My Hat that's a bit Alan Partridge - but those early albums are really great. “I definitely have a personal connection to ‘The Lowlands of Holland’. It's an unusual song, actually, in that I can never figure out whether it's Scottish or Irish in origin. It doesn't really matter, but it has significance for me because I live and have my studio in Dumfries and Galloway, and in the song, Gabe Woods is singing about the man from Galloway. “So I imagine it's where I am and when I'm hundreds or thousands of miles away from home, I hear that song and I imagine being back in Scotland. It generates a degree of homesickness and wistfulness and it's good to feel that, because it reminds you of what home is, and why you should return there.”"