Chantal Akerman Masterpieces, 1968–1978

“Chantal Akerman. We know what it means, I know what it means. Jeanne Dielman, which you know is just the tip of the iceberg of what Akerman has done. I mean, I don't want to go through it all but you should, and I'm taking it with me.”

“Hey, can I take this Chantal Akerman? Can I take this? I want this, so I'm going to take it. You know why? Because I don't know her work and I should, that's why I'm taking it.”

“Chantal Akerman. I first saw Jeanne Dielman when I was in film school, and I couldn’t believe how riveted I was by a three-hour movie that was just about the tiniest things, and it opened up the seed in my brain that the epically small could be what I do in film. It’s kind of at the cornerstone of what I do. And I think Chantal did that really well. In particular, those early movies, raw, expressive. Je Tu Il Elle is the early one that I really, really, really loved.”

“Chantal Akerman. I just feel this is an enormous piece missing out of… out of everything I should have seen in my life. These amazing Faces. You just want to watch them. And they’re sort of transparent and you can see thoughts sort of passing through these Faces, which I find… which is something I really yearn for when I’m watching something or when I’m even performing with someone or filming someone, as I’ve had the privilege to do.”

“One of my idols of all idols: Chantal Akerman. I love that this is called Masterpieces. We have everything in here. Hanging Out Yonkers. Oh my God, I’m so… The film-school tests. I’m so excited. I’m so excited about this.”