"I always defend this movie. Some people hate it. I love it, although I am not in a rush to watch the first half again… There is a scene near the end of the film where it is just Monica Bellucci and Vincent Cassel lounging around their apartment. One of those lazy days you have with a partner. They were a real life couple and that chemistry shoots through to the film. You can tell they are madly in love. I always break into tears at this moment. It puts everything you’ve seen prior into heartbreaking context. The film is a tragedy told in reverse. I think it’s brilliant because by the design of its structure, it makes you think about the tragedy more than if you were just experiencing it in chronological order. Instead of getting to the end of the film and rooting for our protagonist to bash this guys head in, we get to the end of the film and think about how pointless all that pain and violence was and how heartbreaking it is that the violence destroyed this pure love."

"From the moment Lou Castel literally falls from the sky into the film, one knows that one has signed up for one darn crazy ride. Of all the films in the collection this is the one that spells y-o-u-t-h with the greatest virulence. It captures its never abetted sense of social claustrophobia and, its consequence, its recurrent fantasies of murder and mayhem. For anyone, anywhere, at any time, who uttered, “Families, I hate you!” this film should be the Bible. Nervy, hilarious, and bleaker than bleak, it manages to make you believe the impossible, namely that a filmmaker could take a trip on the Rimbaud side of the street and not come out looking ridiculous. And, as an added bonus, for those who want to understand the sixties beyond the banalities that are ritually uttered about them, every scene of Fists in the Pocket, with the convulsive beauty of its framing and composition, amply proves how much this period was made by people so steeped in classical culture that they fantasized it could be solid beyond its fragility, shaking it to the core and ultimately ushering in a world they could themselves hardly live in."

"To find some stuff [for the reissue] I was opening the laptop that I made Nights Out on. When I finished that record the laptop was full so I closed it and put it away. When I was delving back in time I looked at my iTunes and I listened back to this album and suddenly realised that I know all of it really well! I think my girlfriend at the time was really into them, and she put them on and I thought ‘well I don’t like this at all’. I remember listening to his voice and thinking ‘I fucking hate this guy’s voice’, and then after not very long realising that I liked that he was owning his lisp and I started finding it exciting. I must have listened to that record way more than I realised because I know it all really well! When I was listening to it again after I opened up that old computer and for the first time I heard it as a record that definitely influenced a lot of more recent alt-rock bands. There’s a proper disco-y track in there, and it’s sprawling, there’s interludes… it’s a good record!"