"Okay, I’m going to do a hybrid again. Jacques Tati’s Mon Oncle and Playtime; I’m going to put those two together. One’s sort of spun off the other, in a way, but you could put either, because it’s really about Tati himself, and the conceptual art of his films. The film that has almost no dialogue, just gibberish and music and human behavior, and staging. Competition is staging, which I found fascinating. They seduce you into paying attention to the simplest of details."

"Okay, I’m going to do a hybrid again. Jacques Tati’s Mon Oncle and Playtime; I’m going to put those two together. One’s sort of spun off the other, in a way, but you could put either, because it’s really about Tati himself, and the conceptual art of his films. The film that has almost no dialogue, just gibberish and music and human behavior, and staging. Competition is staging, which I found fascinating. They seduce you into paying attention to the simplest of details."

"This was the first political film I ever saw that had strong genre elements. I saw it when I was a teenager, so the story was quite obscure to me, and yet I fell into it because I was so enthralled by the pacing. It’s a brilliant portrait of what it means to be pushed into telling something other than the truth. I found myself riveted by all the different perspectives that can inform how we understand a single event."

"I sang this song, a capella, at a talent show and won three weeks in a row. As a young African-American woman, I found the lyrics resonated with me, because I was still trying to find out who I was, what I wanted to say and how I was going to make music. Everything she says in the song helped shape my early thoughts. She hasn’t made an album in a long time, but that’s cool — I’ll be here waiting."