"Probably one of the first bands that I learned how to play was Led Zeppelin. As I got more and more into them, Jimmy Page increasingly became a hero of my mine to the point that he's by far my biggest hero. If you listened to those records, and you were able to isolate all the guitar tracks, you'd probably say, "Wow, this track sounds awful. Wow, that track sounds awful too." Not the performance, but the tone of it. But he was such a master at what he did, they were able to blend those things and give it such a unique sound. Simple, simple things like the sound of a Fender Rhodes in 'Misty Mountain Hop' – the way that they worked all those things together. When you think Fender Rhodes, for me at least, you don't think heavy rock. You think Hall & Oates. But Led Zeppelin IV was one of those records that completely blew my paradigm apart regarding what rock music could be. And then from that point I went backwards in their catalogue. To this day Robert [Plant] and Jimmy are the consummate pair of frontman/guitar hero. My playing style is probably more similar to Jimmy's than anyone else's. I was influenced by people like Michael Schenker and Uli Jon Roth but Uli was always a bit too exotic. Jimmy is at the absolute top."

"People often talk about this film’s main character, Antonio Ricci, as if he’s some kind of allegorical everyman at the mercy of his circumstances. In fact, he is heartbreakingly specific. He almost misses out on the poster-hanging job because he’s dawdling behind the other men waiting for job announcements. He fails to notice his wife struggling with two heavy water buckets before he helps her out. He’s careless with his bike and does a lousy job of pasting up his first poster, leaving it full of lumps. He often takes off running without looking back for his son Bruno. He doesn’t notice when Bruno falls down in the busy street and at one point leaves him in the market to be preyed on by a pedophile. Bruno, on the other hand, shuts an open window to protect his baby sibling sleeping nearby. He shoves a priest out of the way who stands in front of him. He cuts in line when visiting the fortune-teller La Santona, fetches the cop when the thief is found, and saves his father from prison. These moments of characterization build and build to the point where seeing Bruno see his father’s hat on the ground is almost unbearable. When the distraught Bruno takes Antonio’s disgraced hand in the end, what we feel for them is overwhelming."