"It’s such a beautiful cinematic poem, I suppose. When I did Push in Hong Kong, it was a great pleasure to be able to shoot the film almost in the style of Wong Kar-Wai — just with him in mind, you know. Beautiful light, reds and greens. I actually stayed in one of the apartments in Hong Kong that he designed, which was nice. Lots of wallpaper. As a movie, you’re just so compelled by these two characters, and he only shows glimpses of them, yet they’re so compelling — which is a feat in itself."

"I think this one speaks for itself. I saw this after I saw Poetry. I wish more of Lee Chang-dong’s films were on Criterion. Song Kang-ho in Secret Sunshine is not the central performance, but he’s just so honest and raw and true. He’s this man who wants to be loved so badly. It’s heartbreaking. Director Lee really turns a mirror on you. I was raised very Christian, and somehow this film echoes the things buzzing in the back of my head. It’s nice to have someone make you not feel crazy."

"Where a DVD ceases to be entertainment and becomes a fully immersive educational package about film history, film marketing, the purity of a director’s control, and also one of the greatest films ever made. This was a big deal to acquire; I coveted it for a long time and could not justify the purchase since it was always fairly expensive. I went to a test screening of The Brothers Grimm and met Terry Gilliam for fifteen seconds, and he was so nice and polite that I went home and bought it immediately."

" I’m very lucky because I do it at the BBC, so there are no advertisements, and I’m allowed to choose all of the music myself and invite people in to interview them. For instance, there’s a group of girls called Stealing Sheep and I quite like their records, and there’s a label called Clay Pipe Music that releases really nice, short-run albums, often kind of pastoral sounds, sometimes electronic stuff. I can really just make the show two hours where I share stuff that I like with people. I love doing that."