"I've always loved Angès Varda and been obsessed with Cleo from 5 to 7. I kept thinking of that specific movie when I was singing "Chance" because I was like, "I wonder, cinematically, does this song belong in my version of Cleo from 5 to 7?" [The film is] about a singer — she's obsessed with herself but she's also so sad, alone, and isolated. She only has the woman who works with her and is taking care of her. And then she goes to see a fortune teller and the fortune teller tells her she has cancer. She's having a rough temperamental day after the fortune teller. The day goes [on] and you don't really have empathy for the character at first, but then over time you get to know her. I really like that. [Agnès] features this character in this way because it shows you that even when you imagine that someone's life is super easy and they're obsessed with themselves, that's not really the full story"

"The last one I picked was another Lugosi film, so yeah, he is in every film I picked. That’s funny. I didn’t even realize it. It’s White Zombie from ’32, which is shortly after Dracula. It’s an amazing movie. I’m pretty sure it’s the first movie to ever use the word “zombie” — to use that in a movie. It takes place in Haiti, and Lugosi runs this sugar mill and the zombies are his workers and stuff. Again, he’s amazing, but the film is — only really bad versions of it existed for so long, so every time you’d watch it, you go like, “Wow, the quality of this movie is horrible. It looks like a cheap movie.” Then later, when people have restored things and find them, it’s a really incredible-looking movie. Again, it seems very primitive, but it looks amazing, and he’s great as always. If you watch some of the leads and you just watch their scenes, you go, “What is this, like a cute little musical comedy?” Then he comes in. Again, not f—ing around."