"David Cronenberg’s reflexive masterpiece of modern horror, with James Woods as a seedy purveyor of soft-core exploitation for cable TV, and Debbie Harry as his siren, brought the media-as-message theories of fellow Torontonian Marshall McLuhan to visceral life. This was one of the first movies I rented on VHS, and Videodrome is partly an exploration of the strange, clunky physical sensation attached to the idea of a feature film being available on a paperback-size plastic-and-tape cassette that is inserted into a machine . . . and our brains. A quarter century later, Cronenberg’s dazzling vision of a world where image and flesh are one—“long live the new flesh”—Videodrome’s futuristic vision is timelier than ever. And above all that, the movie is sexy, smart, funny, and fascinating, moving adeptly between its layers of reality, imagination, and that vast territory in between."

"Amazingly fun movie. My brother always argued this had the weakest storyline because Marty McFly is selfish and greedy and it’s about a sports almanac. It became a very destructive element. But I think it has really exciting visuals. The imagination. The props. The hoverboard, the fashion. Those shoes. That jacket that shrank and blow-dried. And then his cool hat. It’s just another one of those rad movies. That’s another one I can easily watch over and over and over again.I thoroughly enjoy the visual elements [of movies]. Between Terminator 2 and Back to the Future II, like, the logic they create, like, time travel…it makes no f—ing sense! You know, John Connor sends his father back into the past to f— his mom, what the f— is going on? But, then, it makes perfect sense. You just buy into it."

"Octavia Butler is one of my top favorite authors, and my favorite sci-fi writer of all time. Her writing is always at the intersection of race, class — and in this instance, vampires. I love fantastical things, and because this focuses on vampires and not humans it adds another element of imagination. In the book, she’s having a conversation about racism, but through vampires, and you just never know where that’s going to go. You’re reading it, reading it, reading it, and then it takes a hard left, and you’re like Oh shit, I didn’t realize we were going to go into these deep political topics. Even though she always does that in her books. I’ve read pretty much all of them, but this was my favorite. She died pretty soon after she wrote it, so it has a lot of sentimental value for me."

"[Taxi Driver is] a film that really kind of struck me on an emotional level and as somebody who works and can kind of appreciate how films are made. I remember when I saw Taxi Driver for the first time, and I saw the creativity and the imagination that went into the shots that Scorsese chose, and to really kind of capture a very particular kind of New York. I thought it was really wonderful. You know, you can watch certain films and there are certain things that will stick out for you. It can be a great character or a performance or an ensemble performance or whatever, but when everything seems to come into play, it’s always really impressive, I think, when every single cast member is very strong. So I felt like with this film, cinematically, it just kind of ticked all those boxes for me."

"I think A Matter of Life and Death is one of the great works of imagination in cinema. It’s a brilliant story. David Niven could not be more charming in it if he tried. He starts off, you know, as a World War II pilot about to crash his plane whilst quoting Andrew Marvell down the phone to the mayday operator, who he then falls in love with. There is one shot in it, actually, of the heavenly court before it goes into session, which we absolutely — and I haven’t actually spoken to Mike Newell about this — but we lifted almost identically for the start of the Triwizard tournament in Potter, in the fourth film. There is one shot — because I think I watched Matter of Life and Death shortly after we finished that film — which I watched and went, “Oh my god, we’ve just stolen that!”"