"The reason I love it is it’s the ultimate adaptation. You know, memes coming out in your films. This guy makes a film every two, three years, is making, making, making, and all the money goes away and they come to him and they say, “Okay, you can make it for TV. You can make whatever you want,” and he walks up to a building complex and he goes right, The Ten Commandments in that building. How do you do that? He makes 10 movies in a year — three of them I think they released later on as features. And you look at them and they have the balls of a student movie, like a short film about killing. It’s just all about the process. It isn’t about hanging the guy or not hanging the guy, it’s just what it takes to hang a guy. And just stuff like that, that I just think, “How do you do that?” I don’t think it’ll ever happen — at least in my lifetime."

"What I love most about this film is its scale, its claustrophobic shots, its intensely glamorous women coming in and out of a single room, and its acute exploration of a single woman’s downfall. We’re seeing a pattern here in these movies; I struggle with anxiety, I struggle with depression, I often feel crazy dealing with my own emotions and the emotions of others, and I am continually fascinated by cinematic representations of women dealing with the same things. Petra von Kant scrapes at the bottom of what it means to be a woman, what it means to be a successful woman, what it means to be a woman in love and have all of these things and yet feel worthless. It’s also about a life in fashion, which is something that I’ve lived. There’s just a tension in that film between interiority and exteriority, embodied so well by those hyper-stylized shots and the cinematography. The film articulates a very specifically feminine kind of anguish that Fassbinder captures so well."

"This was what my sister was listening to in her room and when I heard it there was a defining moment. We all have these pivotal moments where there’s a sense of clarity where we can recall what we were seeing at the time, we can remember what things smelled like and their color and I remember walking through the hallway of our house and hearing ‘Heartbreaker’ coming out of her room and the world stopped. I was stunned because it struck such a nerve and had so much energy. Then when the solo came on I discovered another dimension of music. I was probably ten or eleven. I hadn’t picked up a guitar by this point but that’s when I knew I had to play. I had seen guitars since I was in kindergarten and was obsessed by finding photos of guitars but after hearing Led Zeppelin II I crossed the line between just liking guitars and wishing I could play one, to saying, ‘Ok, I’m going to play…’"

"That’s another one for me that, basically it’s stunning how — it’s an incredible watch. And I think it’s the performances, again, I find riveting. Tim Robbins and Morgan Freeman are just incredible. It’s just such a beautiful film, I think. The story is incredible, it’s so well made. I think Frank [Darabont] dialed in on the direction — I love all of his movies. They have a style that I really like. Anytime I think of this movie, it’s just a sweeping shot coming over the prison while Morgan Freeman is narrating his — it’s such an incredible sense of memories. I went to see it with my parents; I guess I was thirteen when it came out. I think I was — or fourteen — and I remember just being absolutely blown away by it. I mean I know it’s one that’s on nearly everybody’s list, but for me it was also — it was kind of like the first sort of grown-up movie that I went to see with my parents, and that we could have a proper conversation about."