"If I had dinner plans and I happen to be scrolling through the television channels and this is on, I’m gonna be late for dinner. I just can’t take my eyes off this movie. I was at the Kubrick exhibit at the LA County Museum of Art, and it was incredible to see the production details on this–the script, and what the bomb looked like, and the props. And that’s another movie that just was so far ahead of its time, and effortlessly combined humor and horror. In such a profound level the subject was terrifying and real, and prescient to the Cold War at that time. That absurdity of war and the military, it’s just still so great and hilarious and terrifying."

"Spike Lee’s third film. I had just started doing films in high school and Do the Right Thing came out, and there was just this burst of creativity in a drama, of creative energy, and also just the social commentary, and Spike being in it, and the music, and the color, the production design. Then I read the book on the making of it. I read the book that he wrote for She’s Gotta Have It. I really became, like, a Spike Lee connoisseur, you know? But again, just to kind of open my eyes, it took me from kind of like what we were talking about before, like the shiny effects, you know, that kid of shiny object interest of childhood, to movies that can really make you think, and make you talk, make you think about what is going on, and his social commentary really affected me. It really took me from kind of like a Spielberg/Lucas type of filmmaker toward a more socially conscious filmmaker. I actually did a film that was very inspired by Do the Right Thing called Gabriel’s Dream that never got distributed. But it was about these workers in a particularly hot summer in Maryland, and they were trying to get A/C in their factory, and that was basically the story. Like, workers’ rights. It kind of really took me in a direction that I never thought I would go in. And it never came out, it did some festivals, and we never got distribution for it, this was like early 1990s. But it definitely opened my eyes to the power of cinema as a social statement, as a social tool. And I wrote two or three scripts after that that were very much inspired by Do the Right Thing, kind of touching on social issues. I was really that kind of filmmaker when I was in film school. But then we came up with the idea for Blair Witch and all of a sudden, we became “horror filmmakers.” But still, I love the idea of always having a little bit of the deeper meaning in material. And some films are just for fun and made that way, but there are others where you want to dig a little deeper. If you can get one person coming out of the theater thinking about what happened in the movie, I think it’s great. And Do the Right Thing consumed me. It was such an important film in my upbringing, you know?"

"I first encountered that record when I was 16 and in college and a boy came round to my house. He was a boy who I really thought was so beautiful and I never thought that he'd even notice me, quite honestly. I had this tiny little box room in a shared house with a bunch of blokes, one of which never came out of his room - (at the same time that he never came out of his room, Tom Waits released that song 'What's He Building In There?' He never came out! I was just living next to that character and you would hear these strange bangs...) - and in that room I had a little single bed, and I'd brought my only other piece of furniture, my grandmother's huge wooden record player, with built-in speakers and the record player in the middle. This boy brought round a copy of Joni Mitchell's Blue, and I had never heard anything like it in my life before. We hung out all night and he played that over and over again. When he left in the morning, all my heart aflutter, he left that record with me and I was just enthralled by it, and I still am, to this day - I just never get bored of listening to it. Every time a song starts, it's like a really good old friend walking in a room. It's just always, always welcome."

"I was only about 13 when I heard it and it was another one that I played a lot in my bedroom. There was a trilogy of females, which was Joni Mitchell's Blue, Kate Bush's Hounds Of Love and Bjork's Debut that I discovered when I was 12 and obviously had a huge impact on me. But Joni Mitchell, for me, her voice is like an instrument, the same as Bjork's - I just loved hearing a woman's voice that sounded so free and was doing weird things to my brain, pulling it around. How do you even talk about something like this? You just end up saying a load of cliches! There's songs like 'River' and 'Blue' and I didn't know anything really as a 13-year-old about California and Laurel Canyon and the psychedelic 60s and what had happened to everybody, the disenchantment they maybe felt later on. I didn't really understand the background of that, yet there was this woman coming out of my speaker, her feminine energy and her freedom, her expression, her unapologetic rawness, again, and the beauty and competence, and weird tunings, it all completely made sense to me. It all sounded like this amazing place that smelt like pine trees and had golden, yellow sunshine and long hair and tapestries and curtains and cats and guitars. I thought: "What is this place that this woman is talking about?" Actually it's just this universe inside of her, she's like this amazing building full of beautiful things, so complex and so deep and intellectual. I just think she's fully competent on so many levels! I was listening to Carole King, Tapestry, at the time, and that's another beautiful record, but Joni Mitchell's is just emotionally more complex. It was meandering and had movements and parts to it and her voice would soar. There's that bit where she's saying, "hell's the hippest way to go, I don't think so but I'm going to take a look around it": there's that onset of disenchantment, where she's sick of this bullshit, and Joni Mitchell's so good at seeing through the bullshit - it's not this throwaway, idealistic, hippy kind of thing, she's always burrowing a little bit under the surface. As a young girl, hearing women talk about travelling, going on an aeroplane, missing California, being in Paris, seeing some guy playing guitar and writing a love note on a napkin to her. It's like good life experience, listening to that through someone else."

"And then, one that I can’t get away from is Crouching Tiger, Hidden Dragon. First of all, in America, we weren’t all that familiar with Chow Yun-Fat, and we were a little bit more familiar with Michelle Yeoh, but we weren’t all that familiar with Ziyi Zhang, who’s phenomenal in everything that she does. But we’d never seen… I was new to the business — I’d been in show business since 1997, so I was three years in show business, and a lover of movies my whole life. And I remember sitting in the theater going, “This is a turning point. I’ve never seen anything like this in my entire life.” And then it’s been copied now, over and over and over and over. And I would kind of argue that things like Crouching Tiger, Hidden Dragon, I’d have to call that an original take on that genre. The story is beautiful, and visually, what Ang Lee was able to do… The fact that he can do that and make beautiful films like Brokeback Mountain, and then come back and do movies like Life of Pi, which is another visually stunning film. For me, Crouching Tiger, Hidden Dragon might be on the list to stay. You and I could sit down and watch that movie right now and still go, “God is that cool! That is just cool.”"