"It’s hard for me to narrow it down to my favorite directors and favorite actors, too, but I love Matt Dillon. I love Beautiful Girls and I love Flamingo Kid — he’s responsible for a lot of my favorites, but I’m gonna have to pick Drugstore Cowboy. I saw it when I was a kid and I felt like it was such a different culture than any that I’d ever been exposed to, and I felt like instantly I was a part of it — even though I had no frame of reference. I mean, I wasn’t a “kid,” I was 14 or 15. I had started getting into, you know, that sort of pretentious high school literate phase where you start reading, like, Kerouac and Ginsberg and, I don’t know — I loved that world, that romanticized, thuggy, kind of petty crime world. I really romanticized it myself and just wanted to be a part of that world; there was something exciting about that for me. And I love the way it’s shot. I love the drugged out scenes; I love the way [Gus Van Sant] shoots with cut-outs, those kind of simple, free-floating cut-outs to convey the psychedelic scenes. It was one of my very first exposures to that style of filmmaking that was a lot more patient and took its time and allowed itself to breathe. And from there I got into, like Hal Hartley and the independent movies of the ’90s. But my love of that type of film all started with Drugstore Cowboy."

"I hate saying this, but it did what it said on the sleeve! It was them two and it was a lot of drums. It was one of the first records I would listen to because a lot of jazz drumming is very difficult and complicated, if you listen to somebody like Buddy Rich you can't help but think how does he do that; what is he doing? How do you do that? It's very complex which always scared me off. Kenny Clare and Ronnie Stephenson had that same technical proficiency but they didn't use it the same way. They were much more in the mould of Gene Krupa. The parts that they'd play were very musical. I don't know if they were musical to people who weren't drummers, but to me it all made sense. Some of the stuff they did was almost melodic, like patterns on the toms and breaks, and then just trading off each other, which I thought was pretty cool because it was like hearing two people being inspired. Again that was something that really came in with The Damned, with Brian and me. It was almost like a competition sometimes: he would play something and then I would go okay, if you're going to do that then I'm going to do this. And I think that probably came to us from listening to these drum battles and taking on the mentality of that; feeding on what's going on around you, regardless of what it is."

"He identified in a way that was so joyously American; an innocence and a humanism. Just a beautiful heart, that he had, and was able to put into his work. Adding screwball comedy elements to it, but at the center of which were these important thoughts about how lucky we are to be alive. He was able to do that in ways that are cinematic and entertaining as well. And eliciting these performances — like Jimmy Stewart in Mr. Smith Goes to Washington (1939, 96%) and Gary Cooper in Meet John Doe (1941, 92%), Cary Grant and everybody else involved in Arsenic and Old Lace (1944, 90%)…"

"I would like to go on record as saying that creating a top ten list is a living nightmare and I don’t know how anyone does it. That being said, let’s come out of the gate, straddling a bomb, with Dr. Strangelove. It’s perhaps an overstatement to say this movie shaped my entire conception of comedy, but it’s not that much of an understatement either. So: a statement. To me, this is the best Kubrick film. I think of the line “Don’t say that you’re more sorry than I am, because I’m capable of being just as sorry as you are” all the time."