"Even before I started acting, this was a very important film to me. Obviously I was really drawn to the performances and characters, but the whole film just kept bringing it back. Gus has changed his style somewhat beginning with Gerry and all this Bela Tarr and Chantal Akerman influence, which I love too. But back then it was really about collage. Idaho actually started as three different projects – three scripts – through Orson Welles‘ Chimes at Midnight, which was a distillation of Shakespeare, and this other story about street kids in Portland, and then something else about a kid finding his parents in Italy. And then this whole narcoleptic thing that was influenced by George Eliot. He’s got all that just in the script, and then there’s the way it’s shot – he had two DPs, plus time-lapse for the cloud sequences and 8mm for the dream sequences. I love all of Gus’ movies. I think Drugstore Cowboy is a hilarious movie. I love how he can take a situation like that and make it funny. I think Matt Dillon gives one of the best comedic performances in that movie. Gus is taking a very personal approach in the film – from the look of Bob Yeoman‘s cinematography to the way Gus captures Portland on screen."

"The running themes of my top ten list are so perfectly combined in News from Home, which features the most exquisite first-person voice-over and a series of static landscapes of New York City. I had the incredible experience of watching News from Home on the night of October 6, 2015, the day after Chantal Akerman took her own life. I had awoken to this news from Paris on the morning of the sixth. Having spent the day trying to comprehend this incomprehensible fact, I found myself drawn to Hulu that night, choosing to process my grief by watching one of her films. After the first few minutes of News from Home, I realized to my amazement that I had actually never seen it despite thinking that I had (shameful confession: I realize now that it was Hotel Monterey I had seen long ago, and all this time I had somehow mixed up these two titles). Of course, I have seen many of Akerman’s other works and have always considered her a huge influence on my own—especially her formal approach to lengthy shot duration and the static camera and her affection for the mundane. But seeing News from Home, particularly at that moment in time, was such a revelation. It seemed so uncanny that my own cinematic style of mixing static, durational 16 mm urban cityscapes with voice-over would so resemble Akerman’s style in News from Home—and I make this comparison in the humblest way possible. As the final twelve-minute shot of a Manhattan skyline with seagulls unspooled before my bewildered and bleary eyes, I discovered that the conclusion of my new film, The Royal Road, which features a single seagull flying across the San Francisco skyline, pays uncanny homage to Akerman’s film."