"What can I say about Julianne Moore other than that she is a queen and a goddess and I love her. This film is so unsettling, and I find it hard to describe because the monsters and enemies are invisible. What is leading this woman who is technically fine, technically well-off, technically clean, and technically shouldn’t have anything to worry about down this spiral of sickness and paranoia? I often feel that way about myself when I’m dealing with existential crises of my own. I count my blessings, but I can’t get away from, at certain points, this feeling that something is wrong, and this film hit me right there. Haynes was ahead of his time in creating that sort of ominous, intrusive, odious ambiance without beating you over the head with outright horror or contagion, or all of the easy ways to get you to feel scared. It’s all that isn’t being seen in the film that is scariest."

"Well The Shining I thought a lot about, because we did Stephen King’s 1408, which was another movie set in a hotel room, and the madness of that. But I think just seeing it in theaters, you know — I think it’s when you saw it. My mom was from Boston, so we used to go to Nantucket, and it was the summer and I remember I snuck away in the afternoon to go see it, at around 4 or 6 o’clock or something, and when I came back out it was dark and I had to walk down this dark street alone. And I remember being really, I mean really scared coming out of that theater; like, I did not want to leave the street lights to walk home. The other experience I remember was I saw Apocalypse Now in the theaters and I remember coming out of that and I almost couldn’t speak. Stunned."

"It’s astonishing; one of those soundscape albums where the songs barely hold together, but somehow they do, so beautifully and so delicately. They’re like hymns, all of them. There’s a very spiritual quality to the chord sequences, straight from the church. It’s worshipful and soulful. In some ways it relates to Talk Talk’s last works. But they have that dark, dubstep feel to them as well. I just love the way he deconstructs songs. After I’d bought the album, it was on in a people carrier when we were being driven to a festival somewhere, and everybody was saying, "this is really dreary", but I had to pipe up and say, "actually it’s one of my favourite albums at the moment so can we leave it on?" I felt connected to it. I thought, "this isn’t dreary; it’s making me feel uplifted." I like what he does. I like anyone who takes songs and challenges the notion of song structures."