"The last one I picked was another Lugosi film, so yeah, he is in every film I picked. That’s funny. I didn’t even realize it. It’s White Zombie from ’32, which is shortly after Dracula. It’s an amazing movie. I’m pretty sure it’s the first movie to ever use the word “zombie” — to use that in a movie. It takes place in Haiti, and Lugosi runs this sugar mill and the zombies are his workers and stuff. Again, he’s amazing, but the film is — only really bad versions of it existed for so long, so every time you’d watch it, you go like, “Wow, the quality of this movie is horrible. It looks like a cheap movie.” Then later, when people have restored things and find them, it’s a really incredible-looking movie. Again, it seems very primitive, but it looks amazing, and he’s great as always. If you watch some of the leads and you just watch their scenes, you go, “What is this, like a cute little musical comedy?” Then he comes in. Again, not f—ing around."

"I love Wes Anderson, and I can only compare his movies to other movies he’s made, because you can’t really compare them to other directors’ films. Obviously, Wes lives in a world that’s like his childhood, and he draws from a delicate, nerdy kind of etiquette-obsessed fairy-tale world in many different ways. There’s an elegance about what he does and an absurdity that’s almost otherworldly. His sensibility lies somewhere between the late ’50s and the late ’60s, with modern elements in there, but really it feels like an old storybook. So Fantastic Mr. Fox, I’m sure, is something he was dreaming of and you can really feel that. The casting was awesome—I love George Clooney, and I thought he was perfect for it. The pacing of Wes’s dialogue is perfect for animation—snappy, zippy, cartoonish, cute, but with an adult wink. It was incredibly well shot and the music was incredible. I just had a really good time. It was a very, very enjoyable film for any human being."