"In part coming of age listening to Throbbing Gristle, Monte Cazazza and so on... basically industrial music and No Wave defined my tastes. So, I really entered Burroughs via post-punk… and to me his ideas of sound, cut-ups, infrasound, and so on, all informed the mise-en-scène of first wave industrial music. The fact that he really found an audience in post-punk and punk showed some aesthetic lineage. In Against Control – when I look at the records released around Burroughs – I mention the releases by Giorno Poetry Systems, and I think you can really see some shared ideas about the nature of communication amongst the artists there. It’s telling to me that so many of the musicians and bands that are on those records emerged from punk and industrial music."

“For many people heterosexual anal intercourse is still the most transgressive sexual act imaginable. Anal sex renounces any pretence of procreation, it is commonly believed to be unpleasurable for women, it has socio-cultural connotations of male homosexuality, and it is commonly thought of as dirty and faecal. It was illegal in Britain until 1994 and remains forbidden in parts of the western world. Not a sexual act commonly considered to be romantic nor worthy of a celebratory pop song, if discussed at all, anal sex is seen predominately as a Sadean fixation and hardcore porn staple. Certainly it is never viewed as an act of love. Je t’aime moi non plus is a film that is defined by distorted and fragmented bodies, scatological desires and erotic excesses. Even to contemporary audiences, this is a film that stinks of “perversion”, that reeks of sweat, cum, urine, shit and soiled panties, but this not a “perversion” troubled by dull clichés of morality or simplistic notions of sexual normality , rather this is a “perversion” that moves outwards, extending beyond culturally ascribed limits, diving into a veritable sewer of infinite possibilities. “Perversion” may have traditionally been prescribed by those with power as a discursive naming which seeks to label the “perverse” as “other” but “perversion” always already exists as a commonplace, although in a repressed form. My response to the cultural implementation of the perverse is simultaneously celebratory and rigorous, my desire to explore and articulate, to both engage and ejaculate, to become the will to perversion.”

“The critic has a purpose, but I don’t see my writing as trying to judge a work, trying to communicate its good or bad points to a reader. To me, my hope is that this dossier may open-up new areas of cinema for readers, and point at new avenues for investigation, which is all I would hope for. If it merely defined any emergent orthodoxy-of-extreme-cinema I would feel it had failed.”