"Firefly or Serenity (the movie)… that was a really good show. I was really into Buffy and Angel, and when I was done watching them I was really bummed about it being over, and I’m like “I can’t believe I’ve watched them all, what’s next?” My buddy said “Hey, the guy who created that, Joss Whedon, also created a different show, called Firefly.” So I watched that and there were only a few episodes, one season, but they made the movie, which was amazing. I’m just super into sci-fi."

"That movie is spectacular in so many ways. It has everything a documentary should have: unexpected twists, characters that are flawed and complex and crazy. And the story is told in a way that it feels like a compelling — almost fictional — narrative but its obviously as real as it gets. But there are times when you’re watching it and you just go, “Oh my God, did this really happen? Is this real?” I love documentaries and there are a lot of great ones. I’m a big Werner Herzog fan as well, and Errol Morris."

"Blade Runner, man. It’s filled with endless possibilities. It allows you to think, it allows you to move, it allows you to have different interpretations. As well as that score and that world, that visual thing. I just love it. Through it, we get one of the great scenes at the end, “I’ve seen things you people wouldn’t believe. Attack ships on fire off the shoulder of Orion…. Those moments will be lost in time like tears in rain.” Every time I watch it, it moves me. It really moves and excites me, as well."

"I do like movies from other time periods, by the way. There is something, it’s sort of a sweet spot for me — societally, culturally, artistically, whatever sort of groove they hit right there — that appeals to my sensibilities. Nashville is endlessly inspiring to me, everything that I do is aiming for that sort of mixture of casualness and kind of amazing f— it sort of attitude, but combined with these incredible performances and story and structure. It’s probably been the single biggest influence, since the first time I saw it, over how I approach movies. That movie fills me with a tremendous sense of freedom when I come into a new project, that I can do whatever I want. There aren’t rules for how to make movies and I also love that Altman was like 50 when he made that movie. That’s inspiring to me as well, that we sort of live in a culture that values, like, people’s first films or first books or first record, fully formed right out of the gate, or whatever. Most of my favorite filmmakers didn’t have careers that looked like that. They sort of kept challenging themselves and trying new things. And for me, Nashville is this amazing thing, whenever I feel pressure that my career should maybe look different than it looks right now. I’m 32 years old right now. Altman made Nashville when he was 50. I have time to keep getting better and pushing towards this stuff. The best is yet to come. So that’s great. Beyond that, I love the music, I love the way it looks, it’s just a great movie."

"Forrest Gump. That is the longest movie ever, but I will watch it as Forrest is learning how to walk, when his braces fall off of him; when he’s like, going through the swampy puddles of Vietnam; when he’s like, ping-ponging through China. I could watch that movie on Netflix or throw on a DVD, but I’ll end up sitting eight hours, watching it through commercials. I’m sitting there, like, “This is a lot, but I can’t leave. Forrest Gump is on!” “Yeah, you can watch it any time that you want.” “I know, but I’m gonna sit here through these commercials and watch Forrest Gump.” It is like the longest movie ever and becomes the longest movie ever when you sit there through commercials, but I’ll sit there through every stage of Forrest’s life. I will be there. It kind of feels like it needs no explanation because it’s Forrest Gump. I mean, there are so many stories in one, and it’s just so beautiful. You have a man who lives his life with only love and loyalty, loyalty for the ones he loves, and that’s what drives him. It’s so beautiful to watch how that all unfolds. That part at the end when he goes and he sees Jenny after all that time, back there towards the end, and then he’s this little boy and he’s like, “Is he smart or is he…” She’s like, “No, he’s really smart.” Then he goes and sits down next to him — which is a little, tiny Haley Joel Osment — but then they’re both watching the cartoons, and then they both turn their head and tilt it, and it’s just… It’s such a beautiful story, because at the end, you know, Jenny’s finally kind of gone through a life and exorcised all of her demons. She goes through this whole thing in her life, where she has this little boy, and only through love and wanting to take care of her child does she get her life together and reach back out to Forrest. It’s so beautiful at the end. She finally is there, but they don’t get much time together because she’s sick. Then at the end he’s got his little boy with him, and it’s just such a beautiful… It’s such a beautiful movie, and story, and you really feel like you’re with him through all these different stages of his life. The one thing that never changes is his heart. He never gets jaded like the rest of us. The rest of us in the world, we get jaded, we get hardened. Not “we,” but there’s a lot of people who go through the world and feel like they’ve been hurt, they’ve been betrayed, they’ve been beaten down, and so they’re allowed to live life angry, and you just have to give them a big old pass on being upset and angry, but that’s just the story we tell ourselves. S— happens to everybody, and a lot of s— happened to Forrest, but his heart never changed. I think that’s a beautiful story and something we can all take with us."

"I wanted to pick something from Drag City and I went with Silver Jews because I think David Burman is such a great lyricist. It's funny when someone is alive, it's almost as if you're not allowed to say that about people. He's one of the best writers around. This record starts with the line 'in 1984 I was hospitalised for approaching perfection' [pauses] How much better of a first line can you have on your record?! I have a hobby of taking words and mixing them around. I can do that for a whole day, just taking four words and moving them around and mixing them up, just to find a combination that I think evokes something emotional, but David Burman is on another level. He takes language – nothing that's complicated on the surface – and puts it together in such amazing ways. He'll say things like 'Her hair was shiny like video tape' or 'the water looked like jewelry coming out of the spout', weird things you'd never thought of until he said them but they ring true. When you hear his records, he makes you feel like you've never seen the world before. So I commend him. This record is his Americana record, and I wish this is what people talked about when they use that term. He's a brilliant author explaining his vision of America to you - that should be Americana instead of some weird sappy throwback thing."

"Here’s another one: Seven Samurai. The great Akira Kurosawa. He’s my favorite director and a lot of his films featured my favorite actor Toshiro Mifune. I never understood a single word he said, but the force and physicality of Mifune [was] just like a damn hurricane on a screen. In Seven Samurai, this epic film, there was a scene where Mifune’s character — he’s drunk — gets hit in the head. Someone whacks him with a stick and her just comes roaring into this scene like, “Who hit me?!” And he’s hilarious and crazy and you find out by doing some homework that guy never took any acting; he just walked into an audition and said, “You need an actor? I’ll act.” He was just this raw, crazily talented guy. I became fascinated by Kurosawa many years ago on a lot of levels — the way he would light scenes, the way he would shoot things, and the fact that he would use many of his actors over and over again. Obviously, Mifune repeats all throughout Kurosawa’s career, and also Takashi Shimura is in this film, and he stars in a beautiful Kurosawa film called Ikiru, which means “To Live.” It’s one of Kurosawa’s more melancholy introspective works. It’s just a beautiful film. Every time I’ve watched it it always moves me. And in Seven Samurai, there’s so much kinda cop-buddy film — you’re like, “Wow, that’s where they’re gonna get Lethal Weapon, Fistful of Dollars, Hang Em High.” I mean they’re just gonna get so many big movies from Kurosawa. There’s a guy named Seiji Miyaguchi who’s the master swordsman in Seven Samurai, where he goes out on a mission just on his own and comes back holding some dead guy’s gun. A man with a sword takes out a guy with a gun. He just takes the gun, throws it on the ground, and I think he says, “Got two.” He just sits down and goes to sleep. This guy puts his face on his knees and goes to sleep like, “Been a rough night. Killed two guys. Oh, and here’s this gun thing. I don’t know how it works.” There are so many killer moments in Seven Samurai. Meanwhile it’s this sweeping epic [of] good versus evil. And the kind of neutral victory at the end where four of the seven samurai are dead; the farmers are just notably ungrateful for having had their assess saved by these seven selfless samurai. They’re basically rōnin — they are masterless samurai. And they go right back to their crops like, “Thanks, dude.” Really? You barely noticed what sacrifices were made, and you’re all cowards in the face of aggression. And these guys gave you everything and died doing it. There’s a lot of your own life that you could read into that. And I think Kurosawa did that magically from film to film, where he’d tap into human feelings quite often. [Kurosawa] was just a master movie maker. Master writer. Master cameraman. The dude knew how to make a movie. And Seven Samurai is just a great example of it. It’s not my favorite Kurosawa film. I just think it’s such an amazing piece of work. It’s one of my favorite films just because it’s a massive undertaking. And in my top five I did not put in a Werner Herzog film, which I’m rethinking. I probably would have put in either Fitzcarraldo or Aguirre, the Wrath of God. And so, Herzog gets an honorable mention. But moving on."