"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."