"I would say Pulp Fiction, for sure. When you are a teenager, I would say, “What the hell is going on? If making movies looks like this, OK, I want to be a director.” Everything was kind of perfect; there was the humor. That’s why I was not just honored and happy to work with [Quentin Tarantino], but crazy happy. [laughs] When he told me he was doing the movie, I was dancing in the streets in Paris for hours. I had a sense of joy, for sure. So I would say Pulp Fiction, for everything we just love in that movie, like the dialogue, the shots, the lights, the actors, the craziness, the freedom of making something so freeing."

"Sometimes when the AirPods don't block everything out, or your on a plane, you really just want to shut the world off, I go with the Beats they keep it a little bit quiter. I got them without the cord, so I can just put them on, either just knock out on the plane, or just completely chill and relax. I actually do sometimes look forward to it, when I can just check out, you kinda live a life with a lot of craziness sometimes and those moments when you get to just relax and be in your own world are becoming more few and far between, so you learn to value that time, and these are a big part of that."

"Apocalypse Now, to me, is one of those movies where visually, I still watch that now and go, “How did he pull that off?” I’ve heard all the stories — the heart attacks, the house up for sale, you know, them going into bankruptcy — all the craziness, and I still watch that movie and go, “How the f-ck did they do that?” I mean, you’ve got cows being pulled in the air, and the whole military, helicopters flying everywhere… it’s so amazing. It should be a complete disaster. It’s the best example of “Just stick to it, and keep going,” you know. I just love that movie, and some of the memorable performances were just amazing. And it’s still one of the most beautiful films ever shot — no CG; all real."

"For me, Eraserhead is all about when Henry goes to visit Mary’s family. Those scenes hit the sweet spot of surreal absurdism, which is something I never really see in film, although it happens often in experimental theater. In film, the weirdness is usually either too grounded in narrative, which makes it too normal, or not grounded enough, which makes you stop caring. At Mary’s parents’ house, the squeaking puppies, Mrs. X brushing Mary’s hair when she starts to freak out, Mr. X’s non sequiturs, the catatonic grandmother being made to mix the salad—it all walks the knife-edge between craziness and normalcy in a way that’s both hilarious and disturbing. The scene where Henry starts to cut the chicken and everything goes bonkers is one of the funniest things I’ve ever seen. I think the dialogue in this film is great—I wish there were more of it."