"I grew up in kind of a rough neighborhood and there was kind of this whole gangster thing, too. I think that’s the opening line: “As far back as I can remember I always wanted to be a gangster.” And I think there was a part of me that felt the same way. I just loved Robert De Niro’s work, all those guys really. Man, the acting, and everything about that movie — almost flawless film. And I’ve loved all of Scorsese’s films. Just his working relationship with Robert De Niro, from Mean Streets on; there are so many movies that I love with the two of them. I feel like everything kind of comes together in Goodfellas in some way. Goodfellas has kind of got it all. That was probably one of my favorite films as a kid, so I carried a picture of Goodfellas in my wallet. With De Niro and Pesci and Liotta, it was like, you know, the trinity [laughing]. I mean, really, Goodfellas was kind of like my Star Wars [laughing]. Really just the pacing of that film, everything, just how realistic. And at times it’s just jarring how violent it is. And hilarious too. It’s f—ing hilarious. I mean, I know it’s not funny that you would wrap a telephone cord around a guy’s neck. That’s not funny at all! The whole situation is terrible! But I think on some level, really, you kind of care for these guys and I think that’s what Scorsese is able to do in his films, is make these guys so human that we are able to somehow relate to them and, on some level, even kind of root for them, even though some of the stuff they do is just really despicable. I mean, the stuff that Joe Pesci does is just awful and I don’t think you really necessarily root for him; he’s kind of a hot head. The thing is, obviously, I know these things are bad. I do know how life can go one way or another, and that it’s not all just black and white, and there are many different situations and twists and turns in life. I feel these things sometimes and say, “Oh wow, I knew a guy like that. And I knew a guy like that.” And so I am very into gangster movies just because I feel, in some ways, I don’t think I have the heart for it, honestly. I’d have a nervous breakdown as a gangster. I’d be a very nervous gangster. I’d be the gangster that pops a lot of Klonopin."

"Stravinksy has a way of putting surprises in music that sounds very familiar. You already know where the music is going, especially in this particular crescendo that we always listen to: [sings] "pom pom pom pom pom..." It's probably universal music, it's out there floating in the atmosphere and he just happened to pick it up, but he still puts in all these surprises, these little sounds, these strange time signatures, so by the time you get to the finale you're just another person. It's maybe the last seven minutes of the piece, and you know where it's going - it's like driving to your favourite restaurant knowing you're going to eat at the perfect time, and your desire is going to be quenched. Even though it's big, bombastic, strange music at times, it's very satisfying in a rock & roll way. Some of it's so simple, other bits are incredibly complicated, so much so you dismiss it, but you gotta let it take you along. But I'm a fan of Stravinsky. He's a weirdo. I love the weirdos."