"This stylish, psychosexual B-picture is a really cool early example of low-budget New York filmmaking, and it also happens to be directed by MY GRANDFATHER! A great time capsule of smutty, old Times Square – in fact, all of the Times Square footage of Sal Mineo was "stolen", including a chase in the street, and supposedly the cinematographer nearly got killed by traffic during the filming of it. And definitely the first movie to ever shoot a scene in an adult book store. Seek out the right bootleg of this movie (which should clock about 90 minutes) because the only official release is a censored cut, and I know you… You like things sleazy."

"There’s not really a road map for becoming an artist other than the following: get up off your ass every day and make an effort; don’t be afraid to try and fail, and don’t wait for permission to get started; if you don’t have money, get creative with materials that you find or make; believe without a doubt that you were meant for something more, and that no one else can say something the way you can. If you’re fascinated (like I am) by the New York artist scene in the 60s and 70s, and how the AIDS epidemic in the 80s swept through and took its toll, “Just Kids” will blow your mind."

"For some reason, Maurice Pialat doesn’t get the same attention here in the States as his contemporary Cassavetes. But I feel he deserves just as much. Without this film, we wouldn’t have Sandrine Bonnaire, and the complexity of the family dynamic is like nothing I’ve ever seen before on film. I’m proud to be neighbors with Tom Stevens, the actor who played the young American tourist. We were speaking in our New York City apartment building stairwell, and Tom told me that he had been in “a little film that you probably never heard of called À nos amours”—I nearly fell down the stairs. The extras are fantastic on the release, including an interview with Catherine Breillat."

"What else would I go for? 2001. That’s gotta be up there. Just the trippiest, most beautiful epic. Again, I’m just sort of floored, really. I went to see the New York Philharmonic play the score live to a screening with my wife not that long ago, and it was awesome. There was an interval built in — it was obviously part of the film. We were shuffling back in after the interval, and I heard an elderly couple who were maybe not loving the experience. This guy is shuffling in and said to his wife, “Well, if you thought nothing happened in the first half…” [laughs] Yeah. She was not really loving that."