"It’s a toss-up because I love The Insider and, actually, Miami Vice as well. I’m going for Heat because, for me, when you’re really getting into a film is when you start imitating the characters and repeating lines and all that. I never really did that with Sonny Corleone but I did fantasise and think, God, how cool is Neil McCauley in Heat? It’s one of those movies that blew everyone away. In the mid-90s it was a very tired time, you know — a lot of the 80s panache had gone out of the movies and the early 90s was a period for me where I was discovering people like Almodovar. I was just bored of American films. Heat came out of nowhere. It was so muscular, so brooding and so clinically cool. Actually it’s long — it could have done with 20 minutes cut out of it I imagine — but that’s Michael Mann‘s condition. I haven’t seen Public Enemies — there was just something about it that stopped me, which is strange for me when it comes to Michael Mann. I went to see Vice the day it came out, first performance on the Friday. I was mesmerised by it. But Heat was such a powerhouse of a film. Even though I’ve inhabited the wrong side of the tracks in my life, I believe I’m still a good boy, a moral boy, but of course everyone roots for the bad guy in that film. DeNiro is just too fucking cool."

"I’d have to include Mr. Hulot’s Holiday, a Jacques Tati movie, which I remember watching at my school when I was 17, and it was such a revelation for me as a movie, as a sort of a comedy tone and attitude which I’d never seen. Almost purely visual, for a start; no words. And like most people, in terms of comedy movies, I’d been brought up on British and American comedy movies, which tend to be fast moving, and they tend to be very verbal, with the exception of the Pink Panthers, actually. Of course, I could veer off into that in terms of the Peter Sellers… But it just had a fabulous comic tone and comic attitude which I’d never seen before, which is basically where you just sit back and watch people behaving in a slightly exaggerated way. And, again, if comedy is exaggerated truth, there it was again. It was the pace of it, the slow pace of it. That’s what was such an eye-opener for me, and taught me one thing, really, which is that comedy is not about pace. It’s about rhythm. Rhythm is what’s important, and the rhythm can be surprisingly slow and still funny. And even if you know the joke’s coming, even if you can hear the joke trundling just the other side of the horizon, and you know it’s going to come over the horizon, you can enjoy it as much as if it’s a surprise. And that was the insight that I feel I got from that."

"Cool Hand Luke, to me, and I’m not a film historian, but what it feels like to me is it’s in this intersectional point between the glamorization of film and that golden era of Hollywood where everything was meant to look perfect, like all the old Cary Grant movies like His Girl Friday and Arsenic and Old Lace, where everything is supposed to look so nice and everybody’s always impeccably dressed and charming and all that. Cool Hand Luke comes after that, where it’s a more cinema verite realism kind of thing. But also, there are still elements of the older films that you don’t get anymore, like using imagery in a really cool way. Like, there’s one scene where, to inspire a feeling of tension and stress, there’s just a really slow push in on a whirling fan that just keeps whirling and whirling, and I feel like they don’t do that much anymore. Now they have to really pander to the audience, and make sure that they serve up to you exactly what’s going on, instead of using that kind of stuff. Also, Paul Newman is the f—ing best, and he’s so good in that movie, and it’s just cool, man. It’s just a guy who just won’t get beat by the system, and I really like that. There’s so many layers to that movie. It’s one of the few movies that I make sure I keep downloaded on my iPhone or my iPad, just so that I always have it available."

"I would probably say A Woman Under the Influence [for my fifth movie], although it’s a deep, deep tie between that and the movie Opening Night. And A Woman Under the Influence was, I think, more celebrated, but Opening Night might resonate more with me. It is a story about an actress coming to terms with aging and her mortality. I think I’m also really drawn to the way those movies were made, and you can kind of feel the hammer and nail that was used to bring the whole thing together in this way that’s sort of extraordinary and that you can just almost feel the effort made by everyone involved – which is what happens when you make any movie. But sometimes [it affects you] when you know that everybody’s friends were there and they’re all making food for people to eat while they’re making this movie, to make this movie, to tell the story, not to serve any bottom line, or anything other than their creative interests. [In Opening Night, writer, director, and co-star John Cassavetes worked with Gena Rowlands, his then wife.] You don’t always have that luxury. And I just am always very moved by the way they made their movies and what a family they were and what places they could go because of it, because of that intimacy, because of that ease and that history between them. They were able to do things that I don’t know that you could achieve or accomplish in any other fashion, you know?"