"The soundtrack... comes from the idea of music. There is this flow of cars filing by. At the same time, the din of the city, with the specific noise of cars. Everything is connected to what we see. We can explain the noise by the things we see. But at the same time, they have a musical effect. Because time has a peculiar way of flowing by. And the sound of the cars rises and falls. There are kinds of periods. I told myself... take these images as if they weren’t just cars...The sound gives the impression of waiting, of waiting for something, concentration and waiting. This sound changes when we move to the Empire State Building. We’re still in the same diegetic space, but now it’s more the sound of breathing, it could be the wind or it could be breathing. The sound creates a certain arrangement at the beginning and this arrangement then changes, so I see it as an emotional change. When the frequency is lowered, and he sound changes, to me it produces, I don’t know, a kind of opening."

JACOBS, Bidhan. "Entretien avec Leighton Pierce: La recherche fondamental sur le flou", Objectif Cinéma, 10 March 2004 [http://www.objectif-cinema.com/spip.php?article4549&artsuite=5] (Page consulted on August18, 2011)