"Next one would be Contempt by Godard. The first time I ever saw it, on a VHS copy 25 years ago, I thought it was the worst movie I’d ever seen. Actually, every Godard film I’ve ever seen I’ve hated the first time. But it got re-released a number of years back and I was in New York and saw it at the Film Forum, and I felt like I was seeing Halley’s Comet, you know — I couldn’t believe how wrong I was; how much I’d despised this film the first time I saw it and how much my second viewing was completely the polar opposite reaction. I think the performances, from Bardot and Piccoli to Jack Palance, to, you know, Cotard’s photography and Delerue’s amazing repetitive score… to me it’s one of those Godard movies where it’s a perfect balance between heart and mind, you know? Oftentimes his films are extremely heavy, but this film was not only heavy — you could forever gaze into it on repeated viewings, as it appeals to your intelligence — but it also appealed to your soul. It was a huge, huge inspiration for Blue Valentine, especially the middle section of Contempt, where it feels like this 45-minute sequence where this couple is in their apartment."

"ARE YOU KIDDING?! Magical Cloudz?! Majical Cloudz is two guys from Montreal and this record is only two years old. I bought it on a whim because I was intrigued by the strange spelling and a friend had seen them live and said that it was one of the most startling experiences of his life. I didn't listen to it immediately, but a couple of days after New Year's, I was feeling crushed, it was raining, I had it on my headphones and there was something so private and discreet about it. It's all to do with the lyrics and the singer; the music is very understated, there's no real progression in the songs. Unobtrusive, discreet backdrops for what it might feel like stumbling across an AA meeting or a domestic argument or reading someone's diary. There's a confessional, disarming honesty about his lyrics, they're poetic - there's some imagery that adds to the strangeness in a way, but when I listen to it, I feel like I have a companion in my head, the same as when you fall in love with a book. Of all the records that have recently come out, it's the only one I feel like I'll be in love with for a long time, it's very special to me."

"""This one is like the mystery house on Escape to the Country, it’s a curveball. The point I wanted to make with ‘2-4-6-8 Motorway’ is that it’s not one of my favourite songs, the point is it’s always been there but I only really discovered it and fell in love with it in the last couple of weeks. That’s one of the most exciting and inspiring things about making music, discovering songs that have existed your whole life, even though you may have only been semi-aware of them. “I’ve always found it much easier to place my faith in songs that have existed my whole life than a new band or a new artist, you know what they are, you know they’re not going to let you down, they’re not going to do anything sexist or say anything racist or make a terrible second EP. “It’s also so exciting discovering things, I love all those reissue labels like Light in the Attic and finding these treasure troves of records and artists that have been there your whole life, like ‘How has this existed my entire time on earth and I’ve never stumbled upon it?’ ‘2-4-6-8 Motorway’ is a stone cold classic, it’s very British, it’s a big song."""

"I saw Ashes and Diamonds for the first time in 1961. And even back then, during that period when we expected to be astonished at the movies, when things were happening all over the world, it shocked me. It had to do with the look, both immediate and haunted, like a nightmare that won’t stop unfolding; the sense of maddening insanity and absurdity, the tragedy of political infighting on the brink of peace and coming of age during wartime; and the beauty of the lead actor, Zbigniew Cybulski. The film has the power of a hallucination: I can close my eyes and certain images will flash back to me with the force they had when I saw them for the first time over fifty years ago. I’ve crossed paths with Andrzej Wajda a few times over the years, and I’ve always been in awe of his energy and his unflinching vision. I saw him again a couple of years ago, a little frailer but still as burning with energy as he’d been back in the ’90s, and he was preparing to make another film, now just completed, about Lech Walesa (the final installment of the trilogy that began with Man of Marble and Man of Iron). He’s a model to all filmmakers."

"I grew up in a rural area and with four channels on a black and white TV. Birdman of Alcatraz would come on TV, anything with Don Knotts, like The Incredible Mr. Limpet, but Wizard of Oz was a big deal. That movie came on a couple times a year and as a little kid, as all kids are, I was pretty skeeved out by the flying monkeys. But I got past that and just really, really loved the film. I think that I related to the fantastical story as a whole, and also to the idea of being in a rural area and wondering what else is out there — what’s on the other side of the rainbow, so to speak. It was formative. When I was 19, I moved to Austin, Texas, and I went to the Varsity theater — rest in peace, Varsity theater — and saw the movie as an adult. When they’re in Oz and it’s suddenly color, I gasped, because I only had a black and white TV, and in the back of my head I knew the movie turned to color, but I had forgotten. That was a really wonderful surprise. Also, seeing it on a big screen made the movie that much more of a great gift."

"I adore Fassbinder’s work. I’ve been living in Germany for the last ten years, and I think he’s one of the biggest reasons I moved there. Ali: Fear Eats the Soul is my favorite film of all time. It’s the kind of film I’d never think of making—I’d never have thought of those two protagonists as a possible couple—but it’s the most beautiful and yet political film I’ve ever seen. When I was growing up, I never thought that I’d be able to make movies, but I began to learn by discovering films that were made in a way that was very technically simple yet powerful in terms of character, which is what you see in Ali. I come from an Algerian family that emigrated to France in the seventies, so there is something about the character of Ali in particular, and the empathy that the older woman has for him, that touched me. There’s also something about the way Fassbinder depicts sadness that I love and find refreshing. I absolutely adore In a Year of 13 Moons, Fox and His Friends, and Querelle, which made me feel the world differently. I didn’t feel so alone; I felt there were other people who were like me."

"It was hard to pick a Cure album because they're one of my favourite bands, and one of the bands that has made brilliant albums in very different styles, perfect pop albums. Pornography is a pretty unique record that is just insanely bleak, so hopeless but also really again self-contained and perfect. It's not got a shit song on it, even some of my favourite albums have a song that you can imagine they could have done without, but Pornography is absolutely brilliant in that respect. It's just a really suffocating, druggy, bleak amazing record. I hear there was a lot of drinking… I've never really been party to any studio meltdowns, so these stories are… I mean, maybe I'll have a couple of slices of cake too many. They're always quite fascinating. I was definitely a bit of a goth, and still am at heart, I just have no hair to dye black any more. The Cure were the first band that I got properly into. The Disintegration tour was the first gig I ever saw, when I was 14 or 15 or something. We toured with the Cure, they were great to tour with. There was a party every night, they treated all the bands really well."