"With my friend Morgan [Freeman]. It’s so funny, these movies, the ones that I’m pulling out, they all have the same element. They feel perfect. I can’t find a false note, I can’t find a scene or a moment that you could lose and the movie would still be as good. There’s not a wasted breath. I think that Unforgiven is some of Clint Eastwood’s best work. I love westerns — I grew up on them — watching them and playing them around the barn in Buffalo. This is a different western, again, this is a broken guy who’s hanging on by his fingernails. He’s been a dirt farmer, he’s lost his wife, this is his last shot. That’s funny, it’s a little like The Verdict in that respect. None of it is pretty. It’s not slick, it’s not the balletic gunfighting that you see in some movies. It’s ugly and awkward and it’s not easy to kill a man. That was one of the themes that just stuck out like a sore thumb. This is not an easy thing to do, kill a man. For all the glamour and all the romance of the old west and the gunfights and so on, this is awful work, guns. They brought that to life. Gene Hackman can do no wrong. He’s sort of an acting god."

"It’s a movie that I go back to probably once every other month, and I mean, it sounds so dumb, but it’s just something familiar. And I feel like I always discover a new little thing. A new tiny joke. A new little blink or a nod, or something of that nature. It’s a comedy from the era where, as crazy as the story elements are, the actual film feels as grounded and as real as three disgraced Columbia professors fighting supernatural ghosts alongside Ernie Hudson can be. It feels like real professors who are actually kicked out from the school, and the jokes are based on these characters, and are sarcastic. It’s not a big goofy chuckle fest of what crazy thing can happen to this group of people next, you know? It feels authentic. Something in me as a kid really liked that. Something in me now certainly loves that. I have an endless endless love for the original Ghostbusters."

"Scarlet Empress, with Marlene Dietrich, directed by Josef von Sternberg. That’s also pre-Code, just barely, I think, and it’s the greatest of their collaborations. Morocco is amazing, too, and I love Blue Angel. Morocco has that incredible ending where she can’t resist but follows him off, and you hear the wind sound and all that. Anyway, Scarlet Empress is so singular; there’s nothing like it. It’s almost like a new cinema is being created; he’s creating a new language for cinema. Not just the way that it looks, but the light, the use of light, and the use of production design becomes, almost, a sensory part of the experience and informs her character. It’s all about her character’s sensuality, and he uses all these other elements beyond just herself to sell that. The way the film looks, the way the film feels, and it’s where the style completely informs her identity, which is an amazing idea."

"I remember my sister bringing The Slim Shady LP home from school and I’d never heard anything like it. The lyrics were so fucking cool, he was so weird and dark and it was so different. He just tells these fucking creative stories and I think that’s what really appeals to me, I’m such a storyteller with my songs. “I love him as an artist because he represented the struggle of being a fucking teenager, being misunderstood and being like ‘Fuck you, fuck everyone.’ There’s so much aggression in it and I felt that in my hormones as a teenager. He gave a voice to all the ways that you’re misunderstood and the hardship of being a fucking adolescent. There’s anger and there’s ‘I’m an outsider’ and ‘fuck everyone.’ “It’s weird because even though there’s so much aggression in there, there’s also the humour and the sarcasm. He said things that no one else was saying and he created characters and stories and I liked that."