"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."

"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."

"The next one, I think we got to go to Bergman. We go to go to Seventh Seal. Seventh Seal just knocked me dead. On many levels, it’s such a simple film. You’ve got Mary and Joseph, the young people with their little traveling theater, and then you’ve got the knight. I think it was the way he dealt with the Middle Ages and intrigued me with Death there at playing chess. Those were images that just stuck in my head. It was funny. When I was doing Parnassus, I went back and looked at it, because I was trying to remind myself what Mary and Joseph and their little traveling theater was like. I had forgotten so much detail. That was just a really important film, and Max von Sydow was something… The first time I had seen basically a non-American actor at work. He looked different. He behaved differently. Because, you know, I grew up with Dean Martin, Jerry Lewis, Doris Day, Rock Hudson — shiny teeth and beautifully combed hair and all of that nonsense. Something profound was going on in that movie without pointing fingers at anything. It just did it. The squire — that was Gunnar Björnstrand, I think — was just a great character, the cynic in the midst of it all. I remember when he was talking, when he was in this church, and all the frescoes are there, and it’s just profound filmmaking."

"I often say there's a fight going on for best debut album ever, it might be The Velvet Underground & Nico or it might be Marquee Moon… there's a constant scuffle going on. Marquee Moon is a masterpiece. To come out with that album at that time with punk kicking off… It was cerebral and virtuoso, largely everything that punk wasn't. I remember I went to see them doing the tour when it came to the Free Trade Hall, and they were just another one of those bands who were fully formed when punk happened. If you hear 'Little Johnny Jewel' – there's nothing like that song that comes from anywhere else. I went to see them when they opened for Patti Smith at the Academy and I spent most of the night just watching Lloyd's guitar work. He is one of the greatest guitarists ever; and he's a guitar teacher now in New York. It's just a remarkable album, filmic. This came out when I was 16 and I was a roadie for The Fall in 1977."

"Number four is the documentary American Movie. The reason I like this movie so much is I’m a big fan of sort of vérité documentaries and, while this is not exactly a vérité documentary, it’s a movie from the late ’90s and it’s sort of the end of the 16mm personal documentary era. I suppose there are some that exist after that, but for the most part, as someone who really likes movies like Grey Gardens and Seventeen and all these great sort of authentic… Filmmakers went and experienced their experiences with their subjects. American Movie is really like the pinnacle of that for me in that it’s a movie that took two years to make and two years to edit. It’s the kind of movie where when you hear Chris Smith, the director, ask a question, you almost get excited because it’s like, “Oh, the guy from behind the camera is a part of the story also?” Or the boom dips in. It’s charming because you know they’ve been there for two years living with these people. The movie’s amazing because it’s an incredible critique on filmmaking that’s both funny and also sort of sentimental and inspiring in that the Murphy’s Law of filmmaking is that anything that can go wrong will go wrong and, you know, in the case of [subject] Mark Borchardt, it really does. But you’ve never seen someone more impassioned and more determined to sort of accomplish… I don’t know if I want to say something as silly as “their dreams,” but he’s dedicated to doing this and that. To me as a filmmaker or as someone who’s trying to do any sort of artistic endeavor, it’s really amazing to watch, and the movie is very sincere and very honest and very charming and very funny. It gives you an idea of, like, what to avoid when making movies, but it also gives you an idea of what movies are going to be very hard — I would say that making movies is very traumatic — and you’ve just sort of got to stick with it, and this movie is a great example of that. And it’s a great example of getting to know the characters personally, or the subjects personally, and it’s the kind of movie that, when it’s over, you feel like you know everybody in that movie. It’s incredibly charming and it’s one of those movies that I think, as a filmmaker or just a film fan in general, it’s a very essential movie to see. I always try to watch it or show it to people right before we make a movie to say, like, hopefully it won’t go like this."