"No bullshit sentimentality here. One of the most courageous films ever made. Mr John: We should celebrate that a child died a child. That one escaped. We lock them in our schools, we teach them our stupid taboos, we catch them in our wars, we massacre the innocents. The world is for children. The real world. They climb trees and roll on the grass, close to the ants . . ."

"It’s a newer one, but John Wick or John Wick 2. I’m obsessed. I’m obsessed. I grew up doing martial arts, and I know that Keanu did all of his own fight scenes in it, and then I was working on Predator when I watched John Wick 2, and… I have a gun in Predator, and they were teaching me how to do certain things, and I’m like, “Oh my gosh! Keanu did this really cool thing. Teach me how to do it!” I love… Like, back in the day in kung fu movies, they filmed the fight scenes in wide angles so you get to see everybody doing it, but nowadays, everything’s like cut, cut, edit, edit, close-up of this, close-up of that. But we actually got to see Keanu in these wide shots because he’s doing his own stunts, and he’s kicking ass, and he’s amazing in it. I just love that, and I feel like we don’t get enough of that in American cinema anymore, or actually ever. You have to go back to, like, old kung fu movies and stuff. I just love watching that movie and the action of that. It’s a good one."

"Dog Day Afternoon is next because Al Pacino’s performance is bomb! So is John Cazale‘s performance. Dog Day Afternoon has such a dope condensed chronology, and Sidney Lumet is dope – Serpico, Network, 12 Angry Men – just so dope. But Dog Day Afternoon is probably easily the piece that I would ride with the most. The biggest hallmark of it is, again, performances, performances, performances. From Al Pacino to the guy who plays the cop. Having the need to sort of harmonize with each other on an experience level. It’s so interesting because some of that was improv by Al Pacino and John Cazale. You can tell that they have such a close relationship. They’re so comfortable with each other as actors – it’s organic, and it shows on screen."

"I'm gonna be a good Adam and come back to review this over the weekend 'cause seriously, I was WOW'ed. This book is now on my favorites shelf. Why I put the book off this long was beyond me. I highlighted the hell out of this book to the point where my highlighter was drying out. For those who know me, you know I'm rather inhuman. I rarely cry in real life and have never cried over a book. I came close with a devastating scene in "Mockingjay", a super devastating scene in "Okay for Now", and the ending of "A Monster Calls". "Where Things Come Back" has been added to my Almost-Cried-Man-Tears List (which I think I might make a shelf for...) Hell yeah, John Corey Whaley! Big cheers to the next John Green, folks!"

"Though perhaps an outlier in Lynch’s seminal body of work, this film reveals the depth of his humanity and the care with which he attends to all matters of the tragic, the pitiable, and the grotesque. Lynch demands that we align ourselves with the deformed John Merrick, and in bringing the audience so close to the agony of being this man, we approach the same exquisite, unexpected grace that Merrick experiences. Misunderstood and reviled, ridiculed and feared — this is the terrible humanity that Lynch dares to reveal in all of us. We should be grateful for a statement of such compassion and hope."

"Live at the Pasadena Rose Bowl. That song has been on heavy rotation since before I’ve been in the band – the girls love this song as well. Almost every song on here I’ve either introduced to or shared with them, other than Aphex – Emily played me that for the first time. I’ve never seen Depeche Mode live, although I’ve seen Dave Gahan play a benefit gig with John and Josh [Klinghoffer] for MAPS – which is a music programme for addicts. As close to Depeche Mode as I ever got. Still rockin, he’s still got the moves. This version beats the original – it just comes alive with masses of people singing at the end. "