"This has some of the really beautiful ambient stuff that he's known for on his earlier records, and I'm a big fan of that, but there's also some really interesting beats on it. I think for someone who's been in the game for as long as he has to still be making music and beats that are unorthodox and matching that with music that's still serene, that makes for a very dynamic record. Of course, we'd love to work with Eno one day. Some of these tracks were rejected from a film score, and I love to put on visuals when I'm making music. I collect old films, from the turn of the century or the 60s or whatever, I'll put one up on a monitor and start writing, to me that's one of the most fun ways of making music. One day I hope to utilise that talent in some way and work on making soundtracks."

"I love, love, love this film. From the opening credits, with the sunflowers and jump cuts, to the sociopathically ruthless ending, Varda keeps me on her hook. This film represents my worst nightmare vision of the world. Its characters are, for me, the most terrifying types in existence: people so saturated with complacency and narcissism that they are blithely amoral in their pursuit of more and more joy. At the end, when François and his new wife/childcare-provider walk off in their matching autumn-colored sweaters, I’m on the floor in a fetal position. There are a lot of little gifts in the film to help counteract the trauma: the dissolves to primary colors, the jump cuts, the woman in a red dress kissing the man hello in the café, the bright green drink on the table. The Renoir-inspired design and peppy Mozart score make the nightmare pop in an unsettling way."