"The Blues Brothers was a big movie for me, because I was about 13 to 14 years old, and it was my first introduction to James Brown, my first introduction to Aretha Franklin. I knew about Murph and the Magic Tones, which was made up of Booker T and the MGs, essentially. Steve Cropper and “Duck” Dunn, the two guys in there, they were two members of Booker T and the MGs, and then the drummer, you know, he’s got one of my favorite lines in movie history; his name’s Willie Hall. There’s this great line where Willie Hall goes, “Jake, Elwood, you’re out of prison, things are lookin’ good for you. You got the money you owe us, mother f***er?” That’s Willie Hall. He actually plays at my kids’ birthday parties here in Memphis, Tennessee. But, it was a movie that just had the… I mean, my dad and I watched that, and the whole scene where the nun is just beating them up; I’ve never seen my dad laugh so hard. It’s an electrifying, fun movie, and Steven Spielberg makes a cameo at the end of it."

"I love Woody Allen‘s movies, and it’s hard for me to pick only one, but I’d pick Manhattan because so many of his films feel influenced by his heroes — you see some Bergman or Fellini or the Marx Brothers or whoever — and to me Manhattan is the one that most captures Woody. Even Annie Hall has bits of Amarcord in it; it’s a perfect movie, and it’s unique, but Manhattan seems to be the one where Woody does everything he does in his own particular way. One of the things I love about his movies is the tension between the sort of romantic ideals versus his true skepticism about human nature. There’s always this push, this back and forth, about how he loves people and hates people; the misanthropy and the idealism fight each other constantly in the movie, and that’s why I think his films have a special quality. Manhattan has beautiful cinematography and the Gershwin music, and the characters are actually pretty dark and lost and restless, and unhappy. You mix it together and I find it really fascinating. I know some people are really creeped out by him and the girl, but we’ll skip over that."

"I got to Scott Walker quite late. I got into him because I read a lot of comparisons between Dog Man Star or 'The Big Time', the B-side to [Suede's] 'Animal Nitrate', and him. I knew The Walker Brothers of course, but I didn't know his solo stuff. What I like about Scott Walker is that it's millimetres away from easy listening, but is still not easy listening. There's the occasional little detail or bar that he puts in there that makes it not easy listening. Scott 3 for me is an amazing record. The first few songs on that, especially songs like 'Big Louise', are such powerful pieces of music. He's one of the greatest singers ever. It's amazing to see how powerful a voice can be, I don't mean in a macho sense, but how if the voice is doing something fascinating how minimal the music can be. I love the way he's still making strange records, like The Drift and Tilt. You've got to admire him for marginalising himself, and still doing interesting stuff at his age, because it's quite rare isn't it? You wonder where he's going to go next."

"I’m skippin’ past all my movies right now in my mind, just so you know [laughing]. You know what? I’m going to go with Boomerang. Yeah. It was either going to be Boomerang or The Color Purple, but I feel like I’m trying to pick movies that not everybody picks. So I’m going with Boomerang. It was Eddie at the height of Eddie. It was a movie that was different than you had seen him do. The romantic comedy genre, and of course Halle Berry, who was still a fresh face at that time. I really enjoyed the construction of that movie. I’m a fan of the Hudlin Brothers [Warrington and Reginald]. They actually gave me my first internship in this industry. Absolutely. Straight out of college. My first internship was on a movie they made for Miramax, called Ride. I went down to Jacksonville, Florida and I was a camera PA on that movie. I learned a lot about Hollywood production. At that point I had made a movie, but it was an independent film that I made while I was still in college. This was my introduction to Hollywood filmmaking."