Bo Burnham

"A recent one would be Raw, the Julia Ducournau film. I love that film. I had sort of finished my movie so… Or no, I hadn’t finished it — maybe I was just about to shoot my movie — but I watched it three times in theaters. I can’t believe that’s a debut. It only feels like seasoned masters are able to really manipulate an audience, beat to beat, to really feel like you are being so perfectly manipulated, and you’re just in the hands of someone who has complete control of you. It’s just unbelievable to have out of the gate. But also, she does an incredible — and it’s something I was trying to do in my movie — she is able to just really ground all of her stylized sequences really perfectly in the felt naturalism of the movie, and she does it in such incredibly sly ways that are so, so smart. Like, you know — spoiler — the finger eating scene. The fact that the beginning of that scene is all about them waxing. Like, the waxing is an incredible way to ground the physical reality of their bodies in something we can all relate to, in terms of, you know, none of us have ever eaten a finger, but we all know the feeling of hair being pulled out. It’s a really relatable and yet traumatic pain that we’re seeing and thinking about. It’s similar in the way that the animals are put in in the beginning. Because the bodies are treated so real and so relatably, then when this surreal stuff starts happening, it feels so goddamn real. She’s just eating half of a finger and people were traumatized by it. You know, it’s actually not that gory of a movie. It’s not that extreme of a movie, but she slyly grounds it in realism. And then there’s just these beautiful images over the whole thing. It’s such an economic use of set pieces. The blue paint and the yellow paint, and getting together and turning green. Even her under the covers, that feels like a set piece. She’s so economic with her use of action and framing, and it was something I really wanted to try to do. I felt like I didn’t have a good reference for “How am I going to integrate the stylized sequences I have in my mind into this natural world?” Then when I saw her movie, I’m like, “Oh man, this is exactly what I want to do.” She just has a really incredible eye for what is significant, and all the set pieces are just very muscular. Knowing the set pieces are made from simple clean action that is understood with iconic, and icons are simple. To know that things that are iconic are often very, very simple."

"First, One Flew Over the Cuckoo’s Nest was very important to me. I probably saw that when I was 12 or 13. I really loved acting, and it was the first thing I had ever seen, it felt like, on film where acting just felt alive in a way that I had never seen before. I couldn’t believe how free and chaotic and amazing and human it all felt. Those therapy scenes are just so incredible and special. To be able to have a scene of 15 people where no one is taking you out of it and everyone just seems very vivid. It was scary to me how alive it was but very, very exciting. It just felt like, what an incredible thing it would be to be a part of that."

"George Washington, probably, David Gordon Green’s first movie. That was one that I probably saw right before I started, or was it… I can’t remember — it might have been right before I wrote this film. I had never really seen kids articulated in the way that it felt like kids actually thought. It wasn’t imbuing the kids with a sort of ability to articulate themselves that was beyond them. There’s that amazing monologue when one of the boys is sitting on the floor of a bathroom and he’s looking up, and he’s saying, “I want to be an inventor. I want to make stuff,” and he’s giving this monologue about his wants and his needs, but they’re so through the prism of a young mind. You can tell the speeches he’s heard that he thinks he might be making, but in that dishonesty it’s so honest. He’s reaching for things beyond himself, and you feel that he doesn’t have the faculties to get there, and that’s just so honest of what that time is. You can feel that he really gave a lot of this sort of articulated authorship over to the kid and that really shows. It’s like, “Oh, this is actually how kids speak.”

"I would probably say À ma soeur!, the Catherine Breillat film. If you could put that title instead of Fat Girl. I’m just kidding. I don’t really like saying my movie is related to that. I do think Catherine Breillat is brilliant and her movies have so much psychological weight to them. Those two sisters, they’re just, like, titanic, in terms of the conflict between them. The sexual scene with the boy is one of the most charged, terrifying, strange, impossible-to-describe scenes ever, that long take. The sort of depth of… Anaïs? The main girl? Just the depth of her look, how significant her neutral look and gaze is. Her stare is one of the best stares ever. And I stole the swimsuit from that movie and put it in my movie. I just completely stole the lime green one-piece and put it in my movie. I just love Catherine Breillat. I just think she’s incredibly smart. It’s very exciting, and it’s a sign of a really incredible director to show how much tension and tone can be wrought out of a scene of a younger sister staring out of her covers at her older sister from the bed across the room. It’s kind of incredible how powerful and charged that movie feels before it becomes insane at the end. To me, the brutality and shock of the ending, I was feeling throughout the entire movie. It’s just crazy when it shows up literally."