Safe was a real kind of playing with, and almost an enacting of, some of the very core propositions of what was happening in feminism and feminist film theory in the early 1980s. The role of the gaze, and the female spectator, and identification were just sort of alive in that film.
I was very much looking at Robert Bresson's 'A Man Escaped' (1956) in terms of its meticulousness and its focus on objects and details, the rhythm of the escape and the making of things.
8½ is 54 years old and it still feels so utterly fresh and contemporary. It continues to be this template for artists struggling to make their own work.