"What don’t I love about Taxi Driver? Taxi Driver is my favorite performance, and it’s my favorite score — Bernard Hermann, man. I was talking to someone today about why it’s the greatest film of all time. It turns this kind of sadistic ticking time bomb of a man who’s falling apart at the seams into this dreamy, seductive, gorgeous portrait of a vulnerable person. It turns all this sadism and all that deep hatred for the world into this empathetic, Holden Caulfield-type, just deeply pained truth. Not even to mention how it ties into today’s isolation. It’s a movie made in the ’70s that’s more relevant now than ever. It’s needed to show how this sort of isolation, this sort of alienation, can lead to rage and vengeance, but can also be used for good. It’s this crazy luck of the draw — Travis Bickle could have gone in either direction. He could have become this horrible man who murders a bunch of innocent people, but then he latches onto the idea that he has to murder all the bad people. I find that to be such a beautiful concept. Not to mention that it’s shot with these gorgeous reds and greens that are so lush. To watch, it’s like chewing a chocolate bar. It just melts in your mouth, that film. It’s everything I love about movies. It’s the smoothest, most velvet, but also the roughest and the deepest pit of despair you could go into. It’s everything. It’s everything in one film."