"I love that whole album, Coney Island Baby, I like the whole way that album was done. It’s got a cooler, very studio thing going on with all these ‘Oohs’ and ‘Ahh’s’ on the vocals all over the place. “With ‘Crazy Feeling’, I can’t be sure, but I think I heard it on the radio when it first came out. I think I was going to kindergarten somewhere; that was the ‘60s for me! I heard that ‘bum, bum, bum’, that sort of that chiming thing that goes on, and I really liked it and the sound of the guy’s voice singing. “At this point, it could’ve been a vivid dream that I’m remembering, but I think it actually was that song that I heard that on the radio and mixed in with everything else it caught my ear, at whatever age I was, whenever that song might’ve gotten a couple plays on a radio station. We would’ve been listening to a New York station at that time, living in Connecticut, or a Connecticut station"

"I’ll pair this with Mouchette, because they are beautiful, and if I remember right they were released only a year apart, an anomaly for filmmaker Bresson whose films often had many years between their respective release dates. I tried to go to college; in fact, I did go but did not come very close to completing a degree. The highlight of my attempt at formal higher learning was a seminar led by Michael Silverman on the movies of Robert Bresson. At the first meeting of the seminar, Silverman told us that he was still intrigued, confused, and puzzled by Bresson’s movies, even years into the experiences of witnessing them. So, he said, we would take this opportunity again to explore together their density and power. Balthazar and Mouchette slayed me, maybe Balthazar most of all because I identified more with the ass that was Balthazar than the angel that was Mouchette. Both movies are pitiless and intensely compassionate. They say, “This is how bad it is. Let us love until the end.”"

"I love Time Bandits, and it obviously fits into the kids’-adventure-fantasy stuff that I’m into. The Adventures of Baron Munchausen was actually the first film I ever saw in a theater when I was eight years old, and I was euphoric. After that I rented every Terry Gilliam movie. In Time Bandits, he mixes animation and live action, which is an important aesthetic element in the movies I make. When I was twenty I had a short at the London Film Festival, and I was there with my friend so we were traveling from party to party, drinking and eating, because we didn’t have any money. At one party we saw Terry Gilliam, and I started talking to this woman about seeing Baron Munchausen and how it made me want to make movies, and she said, “Well, my husband is Terry Gilliam, you should go say hello to him.” So I went over to him and said, “I just need you to know that I’m here because you made me want to make movies,” and he said, “I’m so sorry.”"

"That’s another one for me that, basically it’s stunning how — it’s an incredible watch. And I think it’s the performances, again, I find riveting. Tim Robbins and Morgan Freeman are just incredible. It’s just such a beautiful film, I think. The story is incredible, it’s so well made. I think Frank [Darabont] dialed in on the direction — I love all of his movies. They have a style that I really like. Anytime I think of this movie, it’s just a sweeping shot coming over the prison while Morgan Freeman is narrating his — it’s such an incredible sense of memories. I went to see it with my parents; I guess I was thirteen when it came out. I think I was — or fourteen — and I remember just being absolutely blown away by it. I mean I know it’s one that’s on nearly everybody’s list, but for me it was also — it was kind of like the first sort of grown-up movie that I went to see with my parents, and that we could have a proper conversation about."

"When I was 14 my family took a trip to London, which was the first and only trip we took together outside of the US. For some reason, we had to go to Waterloo station and my dad told me there was a song by the Kinks about people who meet there, then he played it for me when we got home. I associate it with this exotic feeling I had when I was there. At the time London seemed like a totally mystical place and lived up to my expectations of Englishness. I grew up in New Jersey, so mid-60s Kinks albums seemed like a pure fantasy world. The themes of this one are quite grown-up – it's wistful and sentimental. I also like 'Two Sisters', which is about a woman who is jealous of her carefree, single sister but realises that the stability she has in her family life is more valuable. That's such a different kind of song to listen to when you're 14, as opposed to the stuff on pop radio about love and sex."