"What’s amazing about All the President’s Men is that the only thing that happens in the whole movie is people make phone calls. There are no computers so they can’t look anything up — they’re looking up stuff in the Yellow Pages and they’re using, like, rotary phones. It’s Dustin Hoffman and Robert Redford who are brilliant in it. They’re so natural. So, they’re making phone calls, they’re looking through files, and they’re having meetings in their newspaper’s editor’s office. That’s all that happens in the movie, and it’s as exciting as any big blockbuster movie. I mean, it’s really a huge accomplishment."

"Same with my friend George Miller’s Road Warrior. When I first saw that in Westwood, I was like, “OooooK, there is a whole world beyond Hollywood that is sort of significant in this movie, that has a set of rules about gasoline as the ultimate currency that is both metaphorical and so out-of-the-box.” And the vehicles, the way George did it, the stunning performance of young Mel Gibson. I can remember the visceral impact that it had on me and I’m really looking forward to Fury Road now. I’m sure it’s going to be amazing."

"I just thought the tone and the feel of that movie — the way it sort of characterized small people in such small ways — it gave you so much information about them. It was so brilliantly done. As well as the struggle and the performance from the characters was incredible. Marion Cotillard, I thought, was robbed from an Academy Award. I thought she was just amazing in that. The story was so different and interesting. I just thought everything about it was really good. It just tapped into every single emotion that you had, went through the whole wheelhouse. I just loved it."

"Definitely. And I said a minute ago that I wasn’t going to mention anyone younger than me, but I have to say Jonathan is younger than me. Actually, for the first long period that we worked with him, I assumed he was about twenty years younger than he really is. I remember being electrified by seeing Something Wild back in 1986. Jonathan presented a portrait of an America that was garishly and gorgeously colorful—the colors, the characters, the actors were all so fresh, so delicious—it was an amazing world in which anything could happen."

"Between Opening Night and A Woman Under the Influence, Cassavetes. I still dream, to this day, of having an experience. I thought the borderline guys are the modern version of this, of creating a really intimate, truly intimate environment, without any kind of producers with creative control, or any kind of desire of a specific distribution, but to just make stories that you want to make because they are close to you and personal and interesting and character-driven. Gena Rowlands, to me, is so amazing to watch. That’s something I discovered more in my early 20s, Cassavetes movies.#"

"The album cover was worth the price of the purchase on its own. It was a highly influential record for me. I can remember being at a still life class in art school [Hornsey College of Art] listening to this. I learned every lyric on it. ‘In Every Dream Home A Heartache' is Ferry at his best. They were really hitting their stride here. Their attention to detail on the artwork was amazing. As I said, the album covers were as exciting as the records. To this day, there's a bar set when it comes to presentation, and Ferry set it."