"There’s this movie called Le Souffle. It was called Deep Breath. It’s a f—ing amazing movie. It’s about a teenage boy who is kind of expelled from school, and he has to live with his uncle, I think, in the French countryside. I remember watching it when I was maybe 18 or 19, and I just loved the performances in it so much, and I think it’s kind of like a kid who’s on the run from himself in a way. I think it’s kind of quite related to Good Time as well. It’s just incredibly, beautifully shot. Yeah, that’s one of them."

"It’s like a weird musical. That is actually one of Christopher’s favorite movies that he did, unlike the last one. It was not a very successful movie when it came out but it’s really quite a hypnotic and amazing film I think. It’s like a weird dream. Some of these films I can’t kind of watch over, because they play in your mind like a dream. It reminds me of growing up in Burbank. Things are quite normal on the surface but underneath they’re not quite what they seem. I found this film to be such a strange mixture; the elements are very odd."

"A modern classic. So original and exciting to watch. The premise itself is like a science fiction story, except that it is all very human and emotional. I think it’s Jim Carrey‘s best and most relatable performance. Kate [Winslet] is always amazing, but here she gets to do something she’d never done before. She’s so scattered and passionate and real. It’s heartbreaking because it’s about heartbreak and vulnerability and the inability to navigate through it all, which is, of course, an essential part of the human experience. It’s entirely unique, from an original voice, and that, in itself, deserves applause. The music is brilliant also."

"My favorite movie of all time is a film by Elia Kazan called A Face in the Crowd. I just love that movie. It’s one of those films that, any time it’s on, I’m stuck. I’m literally stuck in front of the TV, watching it until it’s over. I just think it’s just a brilliant commentary. It stars Patricia Neal, Andy Griffith, Walter Matthau, and it’s this amazing look at the impact and power of television. He made this film at the end of the ’50s, and even today, it’s as relevant and as powerful and as impactful as it was fifty years ago."

"Big Night, the Stanley Tucci movie. Yeah, it feels like a play. It feels like you are watching this beautiful bare bones version of filmmaking. Especially after all of the big event or spectacle films, it just feels so simple and so beautiful, and it’s a heartbreakingly beautiful story about learning what’s important. Also, I love to cook, and cooking is such a big, pivotal part of that movie, and Tony Shalhoub is amazing in it, as is Stanley Tucci. It’s just a great cast, a great film, superbly written, superbly directed, and just nice and simple and bare bones, and I love that about it."

"Insane and amazing corporate nightmares. My dad took me to see this when I was only ten, which was maybe not the best parenting decision. I was already devouring all manner of movies by then, but I don’t think I’d seen anything that was so funny and so shocking at the same time. It’s a popular film, but it still strikes me as weirdly underrated and misunderstood. Oddly, the regular R-rated version is way more hard-hitting than this uncut one. It turns out the ultraviolent stuff they had to cut out of the movie was so over the top, it sort of made it goofy."

"Another film I love is The Power of One, and that became one of my favorite films because I actually got the chance to work with Armin Mueller-Stahl, who is amazing, and I was also doing a film in South Africa at the time. I turned 14 in South Africa and had learned all about Apartheid and the country and the history of it, so watching that film in South Africa was wild, and I felt a definite connection to it. And it’s one of those films that not everyone knows about; you say The Power of One and a lot of people go, “What? I’ve never seen that.”"

"I think everyone will know our admiration as a band for this record. Unfortunately I don’t think it sold that great for them, although everyone expected it to do well, that kind of Swedish coolness. I think they described it as their “beardy album”. The track ‘Communication’, whenever it comes on all three of us well up with tears. ‘For What It’s Worth’ is one of the greatest records ever made, it’s just fucking outrageously perfect. I’m a huge fan of Nina’s lyrics, I think she’s hugely underrated. Obviously her voice is amazing. She ended up doing a duet with us, which was one of our greatest moments I think."

"I listened to a lot of minimalist composers when I was making this record. I like the idea of music being hypnotic and taking you into a different world, where things change slowly over time, as opposed to a lot of fast stops and starts. Steve’s music brings you somewhere new in a way that's almost invisible. Songs on my record like One Breath and Carry Me Over were influenced by this feeling, a trance-like state that evolves. Different Trains is a really amazing piece of music that uses the human voice as an instrument, the idea that as you repeat something, it has a different meaning all the time."

"First is The Devil Wears Prada, which I watched a million times over. I’m a fashion fanatic, and I love how it’s like a character in the film. I think it’s one of Meryl Streep‘s most amazing performances. I don’t know, there’s just something about it, the subtleties like the little purse of her lips that she does. I think it’s just really cool, and it’s a bit of a guilty pleasure. And the soundtrack on it is fabulous. I loved watching the way in which they used fashion through it, the dedication to keeping it very fashion-forward. I loved it. I thought it was brilliant."