"I am convinced that Buñuel had intimate conversations with God throughout his life, wherein they would share their observations on humanity and tell lots of jokes. Buñuel’s movies are evidence of these dialogues. That Obscure Object of Desire is about a little man like you and me, self-satisfied and lustful. He is in love with a woman who refuses to give herself to him physically. This 1977 movie (Buñuel’s last) is irreverent, sexual, funny, elegant, shocking, embarrassing, political, and light as a feather. The way to enjoy it is to just let it happen to you, rather than to harbor any preconceived thoughts. To try to analyze why the director uses two actresses to play the same character and the motivation behind when he chooses to use each one is to miss the movie entirely (and to be the butt of a Buñuel practical joke—that’s him laughing at you while you are engaged in this fruitless exercise). As the story unfolds, you begin to feel that these two physically opposite actresses (the drop-dead gorgeous Carole Bouquet and the sultry, exotic Angela Molina) are the same woman and represent Buñuel’s complete male fantasy. Like many of his great films, this one includes a pig, a few nuns, a dwarf, and Fernando Rey."

"Yes, there was quite a controversy kicked up last year over the restoration. And while it’s not an uninteresting issue, it doesn’t distract from the gratitude we who hold Fassbinder dear feel when we hold this handsome box in our hands. This is the epic he was racing against destiny to complete; poring over the extras, you can’t help but sense that he knew it too. All of Fassbinder’s period pieces are, of course, about the Germany he lived in, the Germany I would begin visiting regularly just a few years after he’d gone, a Germany at ferocious odds with itself, arguing in the streets and in the papers and in classrooms and over dinner over what sort of country it’d make of itself, even in those later stages of starting all over again—not too long, of course, before starting all over yet again in 1989. An intense love-hate relationship with the German character, with German history and culture, and an ongoing recognition of the inextricability of the personal and the political, for better and for worse, permeate all of Fassbinder’s work; here, all that’s practically on parade. And the fireworks at the end are gruesome and gripping."

"I think that tune is such a perfectly crafted piece of music. The funny thing is there's two mixes. There's the Jamaican mix, and the Jamaican mix is tough but I do like the other mix too. I got to work with Tony Platt who was like the engineer at a lot of those sessions and he was telling me all sorts of stories. And then what the song was about, when he was living in London and he was hanging around in Soho. It makes so much sense now because when I was really playing this a lot was when I was spending a lot of time in Soho, going to Ronnie Scott's, learning my craft, learning to play drums and jazz, going to clubs, hanging out ‘til 4am. So I felt it, I could picture him being there like ‘Rahtid…’ Everyone's been out on the night bus and seen something and think did that just happen? So I've always had an affinity with that particular track, sonically and content wise. I think people don't often talk about that side of Bob, and they’ve made him out to be this ganja-smoking, peace-loving guy, that’s not really what he's about. He's very political and does a lot of social commentary."