"It’s like a weird musical. That is actually one of Christopher’s favorite movies that he did, unlike the last one. It was not a very successful movie when it came out but it’s really quite a hypnotic and amazing film I think. It’s like a weird dream. Some of these films I can’t kind of watch over, because they play in your mind like a dream. It reminds me of growing up in Burbank. Things are quite normal on the surface but underneath they’re not quite what they seem. I found this film to be such a strange mixture; the elements are very odd."

"I love altered tunings, and guitarists who use them like Michael Chapman, whose Train Songs album was great. To me, this is like a lost film soundtrack, full of soft beauty, powered by this overdriven electric guitar against found sounds and synths. It makes me think of this trip I did to the Joshua Tree National Park: I hadn't known what was there, and I'd thought the Joshua Tree was just one tree! But walking in the high sierra, the quietest place I'd ever been, the idea of cars, planes, city noise, feeling so far away…there was this silence. This reminds me of that.
"

"Love, love, love it. I just recently saw it again in Palermo, and it was a new experience for me to watch it without Americans. People certainly laughed at different things and found different things fascinating. But the idea of letting a predominantly white audience into this block works. It’s a way of opening doors and being like, this is what it’s like on my block. There are obviously some didactic moments and caricatures, but at the same time the dynamics still feel real today. I still think it’s Spike’s best film, and he knocked it out of the park. It’s probably his best performance as well."

"Number three, I don’t know the name of the director [Ed. note: Eliseo Subiela], unfortunately, but it was a movie made in the ’80s called Man Facing Southeast. It’s an Argentine film. I should really find out who the director is, ’cause I saw it a bunch of times in an art theater in the mid ’80s when it was released. I fell in love with it and I dragged all of my friends to go see it, and of course none of them liked it as much as I did, but something about it I just found incredibly powerful and it really resonated with me."

"Oh, The Godfather. If it gets any better than that… I mean, it’s so beautifully shot. I’m not a fan of violent movies, but that one is such an epic film. The violence is part and parcel of the story they’re telling, so, it’s legitimate. In a weird way, I find there’s no gratuitous violence in it. Even though there’s a lot of shooting in that thing, every time there’s a shootout, I found it upsetting and horrifying as opposed to films which just trade on mowing human beings down. Those I find pornographic and not sad. I think it does damage to our society, personally."

"When I was making 19, my manager suggested I cover a Bob Dylan song, Make You Feel My Love. I didn’t really know much about Dylan at the time, but I suddenly got interested, got into his back history – and that’s how I found Karen Dalton. She used to open for Dylan back in the day in Greenwich Village. There’s not a lot of her music out there, she died quite young. But her voice! Something haunting there, even eerie. The tone is amazing – it reminded me a lot of Amy Winehouse. They both have almost a slur in their voice, which is so charismatic."

"I’ll start with 25th Hour, the Spike Lee movie. It was actually written by David Benioff, who writes Game of Thrones. It was my favorite movie before I met David, and when I found out that he had written it, I proceeded to — when drunk in a bar once — to give him my version of the Edward Norton monologue that happens during the movie. Really embarrassing. I cringe to this day that I did that and gave him my rendition of it. It’s just an amazing movie. I love Edward Norton, I love Philip Seymour Hoffman in it, Barry Pepper, you know. It’s a fantastic movie."