"That’s my plane movie. Like, I’ve got it stored on my phone, and if I absolutely just need to just be on a plane, I’ll just put on Apocalypse Now. The mania and craziness that Colonel Kurtz is supposed to represent, and what the jungle in Cambodia is supposed to represent — knowing, by watching documentaries and reading about it, that that mania was not only present, it was prominent on set as they filmed this. Just all of that together. The movie itself is incredible, but the knowing of the making of the film, and what happened when they were making that film, knowing all of that just makes it a much more comprehensive experience. When Colonel Kurtz talks about the horror, and you know what horror he’s talking about, you just feel like you are let in. You’re gifted an audience into true craziness. Every single character in that movie is bats–t insane, and it’s just a matter of how forward it is. So I mean, even Robert Duvall saying, “There’s nothing like the smell of napalm in the morning,” and then taking a pause from it and going, “You know, one day this war is going to be over.” You can just feel how sad he is about that, and how crazy that is. And then you move on to the othercharacters, and then when they get to that farthest checkpoint where the bridge keeps getting knocked down, and he’s like, “Who’s in charge?” And the guy’s like, “S–t man, aren’t you?” No one knows what’s going on here. What does he say to the guy, Roach, the guy with the grenade launcher? “Do you know who’s in charge here, son?” And he just looks at him and he goes, “Yeah,” and then turns around and walks away. That’s when you know. You know who’s in charge? Craziness. The only thing that is in charge here is chaos. You can feel it, and I love it. And Lance, who’s tripping on acid, who’s standing on top of the bunker screaming, looking out, where Charlie is screaming back at him like, “F–k you, GI,” and he’s like, “Lance, get the f–k down!” But that’s the thing: Lance is all of us. That’s what I feel about that movie. He first gets up and he’s just like the good old surfer dude who’s just there and serving his thing, doing what he has to, and in the presence of all of that craziness, he is so affected by it. He’s like the frog slowly boiled in water. To the end, where you get there and he’s ready, he’s primed for the gospel of Kurtz, and he’s just there, and that would be all of us. That’s the experience that so many people had in that war."

"What Kafka gave Marquez —permission to write — Shame did for me. And like all electrifying experiences, at first it was just the shock that such things could be done with novels, that got to me."

"She has a song called ‘Ornament’ I’ve never heard anything like that song. Her lyrics, crazy. Production is insane. Her voice is crazy. Her flow is crazy, like she’s such a doll – she came to one of my shows and we just like hugged forever. She’s dope."

"Wedding Crashers I just think is absolutely hilarious. Old School was like the funniest movie I’d seen in a long time, before this. Vince and Owen, at that point in their careers, there was nothing better. I just thought that movie was so, so funny. And Christopher Walken, and Rachel McAdams, and Bradley Cooper — that was like the first time people really saw him. It had so many lines in it. Vince Vaughn was on fire back then."

"It’s just the greatest monster movie ever made. It’s so much weirder than it needed to be; in a way it’s kind of like Hellboy, where the first Hellboy movie was like, kind of normal, for what it was, but the second movie was so much weirder because the director was like, well I got that studio picture out of my system, now I’ll just go crazy. That’s what Bride of Frankenstein was like. It’s like a monster art film."