"Let’s go with Elephant Man — no, I’m going to go with Blue Velvet, for my David Lynch pick. I’m going to go with Blue Velvet because I love Roy Orbison so much. He was a great influence on me musically, and still is. That’s when I kind of put two and two together — with Blue Velvet — and thought, film is a great way for your music to be heard, without radio. It’s a great way for your music to be heard."

"“Out of all of David Lynch’s films this one is my favourite, along with Blue Velvet. I especially love his use of songs by Elvis. The closing scene of the film is so romantic and always makes me go weak at the knees.”"

"I love Blue Velvet. Put that in there. Alright, this’ll take forever if we talk about what I love about David Lynch. I love that guy. He’s one of the people out there that I just can’t get enough of. I just love everything. I love the way he does it. I love that at first you think it’s weird. [But] it’s actually not weird at all. It makes total f—g sense to me. And you know what I love about it? It seems like it should be pretentious, but there’s nothing pretentious about it. That story creeps you out, it’s fascinating, it’s funny. And [it’s got] dialogue like, “Heineken? F— that s—. Pabst Blue Ribbon!” That’s poetry."

"Robert Mitchum stars in his signature role as the demonic preacher Harry Powell. The great actor Charles Laughton’s only work as a director is a horrifying fable about the loss of innocence and the darkness barely contained beneath the veneer of American pastoral life. It’s a one-of-a-kind movie. There’s nothing like it. Powerful, beautiful, darkly funny. Visually stunning. Both expressionistic and harshly realistic. It’s an American fever dream that I don’t think was equaled until David Lynch launched Blue Velvet into an unsuspecting Reagan-era public three decades later. The disc features Charles Laughton Directs “The Night of the Hunter,” a deconstruction of the film featuring outtakes and behind-the-scenes footage that enhances the experience of an already perfect film in ways unimaginable. Compiled by the UCLA Film and Television Archive, it’s a special feature as good as the film itself."

"As if Dallas needed another reason to be avoided. One of the scariest movies ever made, this is the story that drained the quirky from the bodies of Errol Morris’s two previous films. With the Rashomon-like changing re-creations, the doomy circularity of Philip Glass’s score, the dead-wrong psychologizing of the Dallas detectives, and some of the greatest dialogue ever not written for film, The Thin Blue Line builds a sense of impending dread better than the clicking incline of a dilapidated roller coaster. It illustrates how comprehensively police can be blinded by the avenging desire of an enraged community. The contrast between personalities is pronounced. Even from prison (for a different crime), David Harris can’t stop smiling. And Randall Dale Adams is incapable of a smile—his eyes wide, still unable to believe this isn’t a dream. But just like Adams’s attorney Edith James says, quoting the judge: “What do you care? He’s only a drifter."

"What kind of a–hole would I be without giving David Lynch some love, but I can’t figure out which movie I’d pick of his. I think I’ll have to say Eraserhead in this case, because it was his movie where he put all of himself into it, you know? Every little bit of what he could do on his own, he did it, in terms of designing things and building things and whatever he actually could do and put forth, he put in this movie. He gave it all that energy. I don’t know how many times I’ll be able to do a Kuso, just energetically. If I had to make another movie, I probably would not go as far as I did this time on my own, because it took so much energy and took me away from a lot of things. I’m sure it was like that for him, too. By the time he got to Blue Velvet, he got people who have his style worked out, what things he likes. He didn’t have to try to design every little aspect of it. Then he did, and that, to me, is something that resonates with me. I listened to the making of Eraserhead while making my movie to just kind of keep me inspired."