"I’m going to be honest, since it’s just you and me here. I’d considered this my favorite film for many years. I hadn’t seen it in maybe five. When I came back to Los Angeles after our short hiatus on Jurassic World, I woke up early the first day of pre-production, still on Atlantic time. This movie was on Netflix, so I sat up in bed in a very nice hotel suite and watched it. The movie starts with a filmmaker in bed in a very nice hotel suite, who proceeds to remember his childhood and relationship with a great mentor and friend. I cried for two hours. Straight. It all unpacked right there and then. I got to our production office and my eyes were still red, my voice was gone. My producer, Pat Crowley, sat me down and asked if I’d been on a weekend bender. I hung my head and gave him the least embarrassing of the two available answers. “Yes.”"

"It’s hard to believe a movie like this was once considered not only culturally impactful but mainstream. If The Last Picture Show could even get made today, I’m sure it would make a hundred dollars at art houses in New York and Los Angeles before going to Netflix in a month. I grew up in a small town in Oklahoma, not far from the setting of The Last Picture Show. Though I lived there in the seventies and early eighties and not the early fifties . . . though my town was in color and not black-and-white . . . Bogdanovich and Larry McMurtry evoke the way life felt for me. I knew some Sam the Lions, was closely related to some of them. As the movie suggests, they are now extinct. Every element of this film succeeds, and yet it is bigger than the sum of its parts. A profound film about the vanishing of character in America."

"We all lived in this house in Los Angeles when we first started the band. It was Shannyn [Sossamon], Emily [Kokal], Theresa [Wayman] and myself. David Orlando, who became our drummer years later, lived in the garage. I’d go over to practise and he’d play me records. I didn’t realise how much I loved Jah Wobble’s bass playing; he’s also on my list of all-time greats. That was over 10 years ago and I’d already developed a style of playing by that point but I’d been told by a few people that I kind of reminded them of him – well, they called me Jen Wobble. I didn’t grow up listening to PiL or anything and wasn’t entirely familiar with his style before we lived in that space. I get the comparison now. When I was in high school I was a fan of the Pistols’ hits, but that was more to do with teenage rebellion. The Pistols were great, but PiL have the edge."

"I loved Primal Fear. It was my first introduction, I think, to Edward Norton. I don’t know what he was in prior to that. I love these complex storylines of scandals of the church and the greed of Richard Gere and then, of course, obviously that they fooled us for so long. I really fell down the rabbit hole and it turned on a dime and blew my mind. Frickin’ Edward Norton is such a genius. I hate to say this but I get jealous very easily [laughing]. If it’s a fantastic movie, or fantastic director or fantastic actor. Like, doing this play [Spring Awakening on Broadway] I remember [when seeing the original Los Angeles production] saying, “I’m jealous I’m not in it,” and that’s the biggest praise I can give. Honestly, I think Edward Norton is one of the best of our generation. I’d like to call myself in his generation."

"Sunset Boulevard is the ultimate film noir for me. It has this incredibly unpleasant main character, who is played with a lot of charm by William Holden, and he thinks he’s really smart, and it turns out that he’s kind of in over his head. I love the environment. I love the way the story is told in flashbacks. I love the sense of Los Angeles. I love the humor in it — it’s a really funny movie — and it’s just one of those iconic things that, if you know the movie, you run into it once a month in some way, especially living in L.A. It’s got great lines in it. There’s incredible dialogue, incredible visual moments. Surprises. It’s a horror movie and a comedy at the same time; it’s all over the place in terms of genre. When I first saw it, I just couldn’t believe that it was a big Hollywood movie made by a studio because it’s so peculiar."