"To me this record sounds like electricity. It's sorta arty-punk. Tom Verlaine sounds on the verge of a nervous breakdown and his singing and lyrics are so dreamy and elliptical. It's brutally stark and spare. The guitar playing is so amazing, so different - there's this tension, this raw clean air playing in the guitars - it's just so well arranged and yet unlike any record I've ever heard. The album never really had any commercial success but it's such a seminal record. I think it influenced a lot of bands along the way. It opened everyone’s ears to what you can do with an electric guitar. Both Duke and Steve (of Garbage) are huge fans of Marquee Moon and every now and then this record will pop up on our references. Sometimes we'll say, “You should do a guitar that sounds like a Television riff, that real tall angular sound."" One of the songs off our new album, Man On A Wire, has a little bit of a Television influence to it."

"This movie is still my favorite movie of last year, and I think I have to name it because I just thought it was an extraordinary film and I still think about it a lot. I saw it in the theater and it really hit me like a ton of bricks. I think he’s a really extraordinary director, David Michôd. Ben Mendelsohn and Jackie Weaver — every single performance in that I was so impressed with, but in particular just the direction. That’s a director that I appreciate the sense that he allows his actors to just act and have these really quiet moments, and he really just created this world — the atmosphere of that movie was amazing. For a first film, too. The way that he was able to create a level of tension with actors not really saying much or doing much, it was just what he did with the camera. There are not a lot of films where you can just appreciate the camerawork and what a significant aspect of the whole film it is. It was perfectly curated."

"What I love most about this film is its scale, its claustrophobic shots, its intensely glamorous women coming in and out of a single room, and its acute exploration of a single woman’s downfall. We’re seeing a pattern here in these movies; I struggle with anxiety, I struggle with depression, I often feel crazy dealing with my own emotions and the emotions of others, and I am continually fascinated by cinematic representations of women dealing with the same things. Petra von Kant scrapes at the bottom of what it means to be a woman, what it means to be a successful woman, what it means to be a woman in love and have all of these things and yet feel worthless. It’s also about a life in fashion, which is something that I’ve lived. There’s just a tension in that film between interiority and exteriority, embodied so well by those hyper-stylized shots and the cinematography. The film articulates a very specifically feminine kind of anguish that Fassbinder captures so well."