"And then just, even like comedies of the 1980s, I mean the Three Amigos, I grew up with… It’s such a great movie. I was just talking to someone about it actually and I haven’t seen The Jerk before and we were both saying… she’s a director I just worked with and she grew up watching Three Amigos and loved, obviously, Steve Martin and Martin Short and Chevy Chase. It’s such a simple and ridiculous storyline that it just works. It’s like from the off, you’re just in on this little joke, you know. It’s so great. So I loved that when I was growing up. She was telling me The Jerk, I’d never seen The Jerk before, and I watched it a couple of weeks ago for the first time and it was, again, just really great, kind of like, SNL humor that I really love."

"I love female empowerment in pop, and there was a lot going on at the time when I think back. There was a time when women were fucking fed up of dealing with stereotypes. “I felt Destiny's Child were very much at the forefront of that, saying “Right, we're gonna have some fun now. “Bills Bills Bills” was part of that and then “Say My Name” - I'm gonna call you out. “I remember releasing “Fill Me In”, which came out the exact same week as “Say My Name” in the UK. It was my first ever number one and even though I was like “Wow” and I couldn't stop grinning, I remember I couldn't get my head around being anywhere near Destiny's Child. They were number two in the charts and it was one of my favourite tunes. Ah man, I had posters of them on my wall. It was unbelievable."

"Kwaidan is a film like no other. Adapted from Japanese legends and myths that were collected by Irish author Lafcadio Hearn, the film is an anthology of four ghost stories. The superstitiousness of Irish culture clearly influenced Hearn’s recording of these tales, and to see these stories adapted again by a Japanese artist is fascinating. I think Kobayashi poured his soul into this project. Kwaidan, in every way, bleeds Japanese culture and identity: not a loud and obnoxious nationalistic pride, but a thoughtful and considered love and respect for its heritage. Toru Takemitsu provides an austere and haunting score using traditional Japanese instruments and warped sound effects. The majority of the film is shot on a soundstage and features strikingly, often eerily painted backdrops. This was Kobayashi’s first color project, and cinematographer Yoshio Miyajima uses light, a 2:35:1 aspect ratio, and refined camera movement to astonishing effect."

"I was in film school when I first saw this film. I didn't understand it. Or, more specifically, I watched it and then couldn't grasp what had happened in any linear sense. I had conversations with film school friends about it, but I just couldn't really remember anything except a girl-on-girl love scene and an audition. I watched it twenty-two times this way, not really remembering. Then one night, on an MDMA comedown, I couldn't sleep and it was 8:00 a.m. and the movie was coming on. And suddenly I was able to process every second. It's interesting, because a fever dream is a hard thing to grasp, and I like Lynch's films because they induce these dreams. That morning I was living a fever dream, so the film was suddenly apparent. And it's such a complete portrait of the agony of Hollywood."

"I’ve always espoused this dopey idea that everyone should have one Shakespeare play that they know inside out. Just pick one. For me, it’s Macbeth. I’ve seen countless performances and probably watched most every movie version. (Hey, Scotland, PA, I got your back!). For me, Roman Polanski’s Macbeth is really the greatest of all Macbeths (and would have to be in the running for best Shakespeare film). People often mention how it was Polanski’s first film after the Sharon Tate murder or how Hugh Hefner was a producer. Try to get past all the extracurricular stuff and just play’dst (with the English subtitles on, I’d suggest) for the incredible performances, the mastery of Polanski’s cine-aesthetic precision, and a bleakness that feels so relevant today. I love how it’s so true to the play yet also so clearly a Polanski film. It’s harrowing, visceral, and frightening, like all his best work."

"I love the first Godfather movie, part one. And two. Another great director, Coppola. And then of course, Marlon Brando, Al Pacino, Robert De Niro. I had heard the stories about how they wanted a whole other cast, and Francis was under the gun and he rose to the occasion. He got great performances out of Pacino, and De Niro was unbelievable. All the secondary guys from Joe Spinell to Michael Gazzo. The casting was impeccable. He got a lot of great performances from people who were just getting into the business themselves. Duvall, everybody had so many layers. The performance he got out of Lee Strasberg, who never really did much acting in front of the camera. When I was in the Actor’s Studio, the only actor that Lee actually spoke to was Al, so [Coppola] used the relationship that the two had and that was quite interesting."

"Sorry to pick this. Just saying the title's enough, really, isn't it? I know it's really obvious, but it's such a masterpiece. 

It's been strangely hard picking my albums for this, as lots of things don't resonate with me now like they used to when I was younger. I've been listening a lot more to classical and choral music in the last year, for example, but this fits in with that, because this is sacred music. It's music that transcends genre. Every track is profoundly beautiful – and I say that having liked Talk Talk before this, too. I remember the first album coming out at the same time as Duran Duran's Rio, and people comparing them, then hearing The Colour Of Spring. 'Life's What You Make It' was a big song when I was at sixth form. But this album… this is a bigger thing. I still love it so much.
"

"I love that album because it’s in two parts. The first part is mostly him recording everything himself and doing like a print thing where he’s exploring the studio. He’s a great producer – he did Bat Out Of Hell and loads of other stuff as well – he knows studios and studio techniques and trickery. He’s a multi-instrumentalist, and I always enjoy listening to people who are like that because they often approach their second and third instruments totally differently to an accomplished drummer or bass player. But the second part is with his band, who are also great. It ticks both boxes really! I think of these as classic rock songs even though English people never know who I’m talking about. So I feel like I’m part of some little exclusive club, even though everyone in America knows everything about Todd Rundgren [laughs]."

"The first time I fell in love. And felt loved in return. Basically, my childhood (with nuances, of course)—I’m sure I am not the only one who was wondering where in my house they had hidden the cameras. Léaud at the top of his game; he did create, with time, his own acting rules, his own school in his mind, and he opened the doors to many other actors and actresses. One never really says, “Léaud is so bad in this or that film.” No. It’s Léaud, that’s it. Plus, you can never think of anyone to replace him. Never. This film clearly does justice to its title. It blows us away. I don’t feel very original when I say that this is the movie that made me want to direct. And that reminds me all the time how much there is still to learn."