"Scarlet Empress, with Marlene Dietrich, directed by Josef von Sternberg. That’s also pre-Code, just barely, I think, and it’s the greatest of their collaborations. Morocco is amazing, too, and I love Blue Angel. Morocco has that incredible ending where she can’t resist but follows him off, and you hear the wind sound and all that. Anyway, Scarlet Empress is so singular; there’s nothing like it. It’s almost like a new cinema is being created; he’s creating a new language for cinema. Not just the way that it looks, but the light, the use of light, and the use of production design becomes, almost, a sensory part of the experience and informs her character. It’s all about her character’s sensuality, and he uses all these other elements beyond just herself to sell that. The way the film looks, the way the film feels, and it’s where the style completely informs her identity, which is an amazing idea."

"Blade Runner goes down as one of my favorite movies and I have to watch it every opportunity that I get to watch it; and it seems to me that every single time I watch it, I discover something that I never knew was there. I mean, the fact that that movie was close to 30 years ago, it’s absolutely astounding. I actually watched it recently again and — you look at it now and it’s just — the set design and the way that thing is shot, it feels… it’s absolutely amazing. You can’t say that of some movies. Like, if you go back and watch Alien — the first Alien — it looks dated now. It really does, because of how much technology is moving forward and the kinds of things that are being done onscreen because of CGI. But if you go back and watch Blade Runner, it’s incredible how well it’s held up over time. It’s amazing."