"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."

"The next I would say is La Strada because, well, do I really have to say? I feel like it’s sort of self-explanatory. Like [laughs] Giulietta Masina, I mean every performance, but particularly the last scene in the movie, with Anthony Quinn and just being on the beach, and everything about that movie is beautiful. And there’s something always about his films that, knowing that audio was recorded post shooting the film — I’m pretty sure that’s true with that movie — just to know, in a way, if it is true, it’s just to know that there are two sort of performances happening simultaneously. You can see and hear that. And I love that idea and what skill and sort of the presence to this day that movie has. And it’s also personally really resonant because my father said after he saw that movie, it was what made him want to make movies, and when I finally saw it when I was a teenager, I understood why. So it inevitably has a resonance beyond the brilliance of the movie itself."