"Then A Prophet. I love that movie. I think one of the greatest things about films is when they can take you to a very certain time and a very certain place. It’s time travel, its magic. I know nothing about what French prison would be like, I know nothing about it, but I believe every single second of that film. I feel like, after you watch that film, you know a little bit about what that’s like. I know how difficult that is to do. I just think it’s a beautiful honest moment, and I think that he deals with the immediacy of panic and how being panicked can change you and what people will do to survive. Its a brilliant film."

"I’m tempted to say Arrival, because I used to stare at the album cover as a kid, but Voulez-Vous was sort of my introduction to proper French. The arrangements on the record are great, and Does Your Mother Know is a fantastic rock song. That riff could have easily been on a T. Rex record. “They were a little ahead of the curve. This record is right before a lot of people started combining disco and rock, and I think ABBA did it rather inadvertently. Beautiful songs, incredible production. Anybody who puts down ABBA is just plain mad. The songs are light and bouncy, but if you listen to the lyrics, there’s a lot of sadness there. Pretty interesting."

"I always say Agnès Varda was to the French New Wave as Eve is to the Ruff Ryders: a ride-or-die bitch, respected by a pack of tough gentlemen. The first film of hers I saw was Cléo from 5 to 7. My mom had just had a routine but unpleasant dental surgery and was all whacked out on pills, and I read all the subtitles to her in different voices. I was so impressed by how Varda manages to be both deeply emotional and utterly in control of the technical elements of filmmaking. That had seemed to me to be an impossible line to straddle, and she does it so beautifully. Watch The Beaches of Agnès next, a portrait of a rich life in film."

"I always say Agnès Varda was to the French New Wave as Eve is to the Ruff Ryders: a ride-or-die bitch, respected by a pack of tough gentlemen. The first film of hers I saw was Cléo from 5 to 7. My mom had just had a routine but unpleasant dental surgery and was all whacked out on pills, and I read all the subtitles to her in different voices. I was so impressed by how Varda manages to be both deeply emotional and utterly in control of the technical elements of filmmaking. That had seemed to me to be an impossible line to straddle, and she does it so beautifully. Watch The Beaches of Agnès next, a portrait of a rich life in film."

"I always say Agnès Varda was to the French New Wave as Eve is to the Ruff Ryders: a ride-or-die bitch, respected by a pack of tough gentlemen. The first film of hers I saw was Cléo from 5 to 7. My mom had just had a routine but unpleasant dental surgery and was all whacked out on pills, and I read all the subtitles to her in different voices. I was so impressed by how Varda manages to be both deeply emotional and utterly in control of the technical elements of filmmaking. That had seemed to me to be an impossible line to straddle, and she does it so beautifully. Watch The Beaches of Agnès next, a portrait of a rich life in film."

"I always say Agnès Varda was to the French New Wave as Eve is to the Ruff Ryders: a ride-or-die bitch, respected by a pack of tough gentlemen. The first film of hers I saw was Cléo from 5 to 7. My mom had just had a routine but unpleasant dental surgery and was all whacked out on pills, and I read all the subtitles to her in different voices. I was so impressed by how Varda manages to be both deeply emotional and utterly in control of the technical elements of filmmaking. That had seemed to me to be an impossible line to straddle, and she does it so beautifully. Watch The Beaches of Agnès next, a portrait of a rich life in film."