"I’d like to say that the television version that’s longer is better than the version that was in movie theaters. Bergman’s my favorite filmmaker, if I had to choose. It’s very much a culmination of most of the themes and motifs of his career that appears as a physical personification in the very beginning of the film, similar kinds of ghosts that Bergman explored in the past. He has his love for the theater and puppetry and there’s moments of hope and joy, but it also just reminds you that humans have certain demons that they can’t ever escape. It’s really rich and it touches on so many things about what it is to be human that it’s really quite remarkable. And as with every Bergman movie, there’s not a moment of bad performance to be found. But I think that the first episode, if you were to watch the TV version, is just Christmas with a family. A long episode of getting to know a family at Christmas. And I was talking with [Home Alone director] Chris Columbus about Christmas in movies and he was explaining how it’s just a time of heightened emotions for everyone. So that’s a really clever way to learn about this family and all of their dynamics super deeply, by beginning at Christmas. And the first time you watch it, you’re kind of like, “Where is the story? What is this? This is just Christmas.” And then the next episode, the plot begins but you’ve gotten to know this family incredibly closely and so then you’re just so invested with them through the rest of the film. Also, like The Lighthouse, it has some fart jokes."

"I think the period from 1979 to 1982 was the best period for British pop music. And out of all that stuff it's 'Oliver's Army' that I've chosen. It gets more incredible the older I get and the more I understand about it. Visually, when it first came out, Elvis Costello was like a Halloween version of Buddy Holly. It's all distorted - his clothes were too big for him and his glasses were too big for him. He didn't look like a very nice guy - quite frightening - but singing this amazing song. Some songs will move your feet, emotions, and some will move your head - and this has got all of this, all together. I knew all the words. I'd write the words down in my exercise book at school, but I didn't understand any of it. But they're such good words you don't really have to. I love that first line: "Don't start me talking/ I could talk all night". It just brings up that image of youthful idealism - we can sit up all night talking. Before you get into drink, drugs and all that, you just sit up talking because you can. I love that. It could Paris in the late 60s, or London at the end of the century, or Greenwich Village. Musically, I just read about the piano part... Elvis didn't like the song at all and they were going to scrap it, so the piano player suggested, "Why don't we play something like ABBA?" I think it's 'Dancing Queen'. And then they put that on and that was it. But no one wanted to say yes at first as it wasn't a very cool thing to do."

"I think these albums [by Jaco Pastorius and Stanley Clarke] essentially let me know what I was supposed to do in life. I would read Jaco's autobiography, I wanted to learn everything about the man, and I would go find the other albums that he worked on. Everybody knows him as the actual virtuoso bassist that planted the seed, but I wanted to know what made him tick, what got him to the point of being who he was. That's what Jaco Pastorius did to me; it made me want to know him as a person. I would study, I would transcribe, I'd listen, imitate and mimic everything. As you go through different phases, somebody may even go so far as to say 'you sound like this person'. I mean, you gotta be okay with those moments, because it's leading to something. If you're keen on the instrument, it's always leading to something else. Every time I listen to the self-titled album I feel weightless. I feel like it's going between 10-year-old me and 35-year-old me. It almost feels like I've never heard it before, and I get the same emotions every time I hear it. It's one of the only ways I know I'm moving forward is by hearing this album all the time. It's crazy, it feels weird, but it's the truth. It's like a reset button in my life, listening to this album. By the time I get to the end of Jaco's album, I just remember how much and how hard guys like him used to work. It also reminds me to keep going, and it also reminds me where I came from."