"In a glorious surge of deserved success in 1974, the very comprehensive lyric sheets accompanying Sparks albums prove that Ron Mael is clearly driven to tell, yet he answers the media by skillfil Quietism and by impersonating various walls. Ron Mael is an undoubted genius, and where else would a true genius live but in the catacombs of hell? Ron asks his younger brother Russell to sing the words - in chilling falsetto. Russell sings in what appear to be French italics, and has less facial hair that Josephine Baker. It is a scream, because the songs are screams. (...) Who on earth would write a pop song in such a way? A song about an arts and crafts competition where 'lovely Claudine Jones/has to come to push her quilt', but where Tracy Wise gets a prize. There is no category for this madness - except the category of madness, and Sparks are only let down by their name. At 14, I want to live with these people, to be - at last! - in the company of creatures of my own species"

"What is it about horny rich people misbehaving in the countryside that is just an endless source of cinematic gold? I love the way this film, whether wittingly or unwittingly, portrays the abjection of the desire and romantic practice of a man who seemingly has it all figured out. He’s in his last summer of freedom before marrying himself off, and he’s misbehaving with these teenage girls—but you don’t for a second disbelieve the subjectivity of these girls. In fact, you end up getting sucked into their relationships with him. This film gets under the skin and into the nooks and crannies of what we do when our passions are high and we’re very bored. It’s a little pervy, and we can question the age differences and the ethics of what’s going on sexually and romantically, but I think the film questions them as well, and we’re able to see strange desire from multiple angles. It just washes over you and you understand it. It’s very French in that way."

"I love all of Stanley Donen’s movies and I wanna put one of them in there. I’ll put Two for the Road, which I love. Audrey Hepburn, Stanley Donen’s movie. Those would be my five. Today. [Laughs] Tomorrow I’m gonna pick Claude Lelouch — And Now My Love. I don’t know if you’ve ever seen that. It is amazing. It’s with an actress named Marthe Keller who made Bobby Deerfield with Al Pacino. And Now My Love is the story of two people who never meet until the end of the movie, and the protagonist is a kid who is a thief and gets sent to jail and learns how to use the camera in jail — and goes from making porno movies to making, you know, great movies, like Truffaut and Godard and Lelouch and the French new Wave. It’s really the best love story, and he’s an unsung hero of cinema, Claude Lelouch. Actually, that would be tied for Two for the Road — that way I get a sixth choice, and I’m greedy. [Laughs] Tie it. That’s a tie."

"I love all of Stanley Donen’s movies and I wanna put one of them in there. I’ll put Two for the Road, which I love. Audrey Hepburn, Stanley Donen’s movie. Those would be my five. Today. [Laughs] Tomorrow I’m gonna pick Claude Lelouch — And Now My Love. I don’t know if you’ve ever seen that. It is amazing. It’s with an actress named Marthe Keller who made Bobby Deerfield with Al Pacino. And Now My Love is the story of two people who never meet until the end of the movie, and the protagonist is a kid who is a thief and gets sent to jail and learns how to use the camera in jail — and goes from making porno movies to making, you know, great movies, like Truffaut and Godard and Lelouch and the French new Wave. It’s really the best love story, and he’s an unsung hero of cinema, Claude Lelouch. Actually, that would be tied for Two for the Road — that way I get a sixth choice, and I’m greedy. [Laughs] Tie it. That’s a tie."

"Number four is Superbad. I love Superbad. It’s the same kind of feel I get from Ferris Bueller’s Day Off, where you kind of want that, but they’re not winning the whole time like Ferris is. They’re kind of losing the whole time, but still, you want them to win. They’re losing the booze and they’re getting into fights. They’re doing all this stuff looking for the great outcome. But even then they don’t win because they really just want the girls. I feel like everybody can relate to that — just anybody — no matter if you’re a guy or a girl. That blind faith you have in yourself, when you’re just speed-bumping it or tripping over life as a teenager, but you still know you’re going to prevail in some way, shape, or form. But you really don’t know. It’s really just hope. That’s a cool part of that movie, and it’s just funny as f—. Excuse my French. It’s just funny as hell. I love that movie. I love McLovin. I love everything about it."

"I suppose given the tenor of this list, Melville is pretty predictable, being that he’s a genius of crime noir, but this film is neither noir nor gangster; it’s about a thoughtful, intelligent, wise, and committed country priest, played by the young Jean-Paul Belmondo (!). Melville has a strong moral code, standards of honor and loyalty, as seen not just in his crime movies, but in the devastating Army of Shadows, his film drawn from his experience in the French Resistance, but I never could have foreseen him making a movie that is basically an argument of morality between a compassionate young stud of an impeccably behaved priest and a wild and magnetic, cynical woman, the riveting Emmanuelle Riva. Also, it made me get Catholicism in a way I never had before, namely the appeal of having as a confessor and advisor someone whose concern is for one’s soul. What could be more moving and fulfilling (and flattering)? It’s way more seductive than a psychiatrist, and it’s almost free."

"I'd heard this record off and on over the years and I was more familiar with stuff like 'Bonnie And Clyde' but the thread through a lot of these records is that I look at the sonic value. And I've always loved Serge Gainsbourg's production, be it the bass sound or the drum sound and so I really don't give a shit that it's sung in French because that's part of the whole package. My brother and his wife bought me the vinyl version about five or six years ago and it reinvigorated it for me and it reignited how I felt about Serge. When you put that record on, whether it's making Sunday lunch or having a few smokes at the end of the night, it just delivers what I want at that moment and that's the thing about great records. You may not love them all the time but there are the times when you do. But this has got a really cool poise that I enjoy."