"I’ve seen Koyaanisqatsi more than any other movie. For years, I would just put play the disc on repeat the way some people might play their favorite record. But more importantly, Koyaanisqatsi has had a profound effect on me as a filmmaker and editor. It’s not so much the obvious stuff (i.e. the time lapse cinematography, editing to music, etc.) but rather this age-old notion that an audience can experience a story just through imagery. Audiences are smart—give them some guideposts, throw out some complex ideas, and they will do the rest. Koyaanisqatsi serves as a constant reminder that film is a visual medium where explanation (and even plot) can sometimes be intrusive, and the most powerful statement a film can make is the one that the audience arrives at. The Koyaanisqatsi supplements are also really instructive. There are a couple candid doc pieces with the director, Godfrey Reggio. At one point, he says he explored having Allen Ginsberg recite poetry throughout the film. At another point, he talks about filming surreal Terry Gilliam–like scenes (at an enormous budget) that he ultimately decided to cut out. It reinforces the idea that with filmmaking, just like in life, sometimes you have to go through a lot of bad mistakes to discover what really works."

"Terminator was a real seminal piece. In fact, I read the script before [James Cameron] shot the movie. I was asking around, “Anybody read any great scripts?” I read the script — it’s a game changer. All of these films, I feel like they’re real game changers; there are films prior to these movies, and there are films after. It’s like you’ve opened up a Pandora’s Box, and the filmmaking world can never be the same — the language is different, the grammar is different. I think Jim did that in Terminator. I think he really changed the playing field. And so I read the script, and I was like, “I can’t wait to see it!” I didn’t know him, so I didn’t go and watch the shooting, but of course when it came out…the only way you can describe it is as a game changer. You have to change your rules! Again, not in any particular order, but Kurosawa has to be in there [among my favorite films and filmmakers]. Ran, Kagemusha, Dersu Uzala… and then Fassbinder‘s In a Year of 13 Moons, one of the most magnificent love stories ever made. Ozu. Pabst, who gave us the opportunity to move from one location to another and fuse it together. Anyway, that’s my story and I’m sticking to it."

"Melville is a very, very dear filmmaker for me because I feel he suffers when he’s making a movie. He puts a lot of effort into it. I have a feeling that it doesn’t flow very naturally, but that’s exactly what I like, that he’s working and putting in so much of his own feelings and vision in a way that’s complicated for him. In Le silence de la mer, which is one of my favorite films ever, he creates this feeling of intimacy not through dialogue but through a space, a certain type of light, and the sounds of a specific place. How is it that, with a film, he can make you feel the weight of a living room and the solace it can give? It’s all about nostalgia and reminds me of the way I think of places in the past. I can imagine that Melville must have been an intense and passionate person, especially given how he deals with the past and his memories. Army of Shadows is done very intellectually and very elegantly. He’s always so classical—not in the sense of rules but in the sense of proportions and elegance, like something Greek and old. That’s a quality that belongs to people who were living during the Second World War, people from another era with an aspiration for a better humanity."

"Melville is a very, very dear filmmaker for me because I feel he suffers when he’s making a movie. He puts a lot of effort into it. I have a feeling that it doesn’t flow very naturally, but that’s exactly what I like, that he’s working and putting in so much of his own feelings and vision in a way that’s complicated for him. In Le silence de la mer, which is one of my favorite films ever, he creates this feeling of intimacy not through dialogue but through a space, a certain type of light, and the sounds of a specific place. How is it that, with a film, he can make you feel the weight of a living room and the solace it can give? It’s all about nostalgia and reminds me of the way I think of places in the past. I can imagine that Melville must have been an intense and passionate person, especially given how he deals with the past and his memories. Army of Shadows is done very intellectually and very elegantly. He’s always so classical—not in the sense of rules but in the sense of proportions and elegance, like something Greek and old. That’s a quality that belongs to people who were living during the Second World War, people from another era with an aspiration for a better humanity."