"This is one of my favourite records to listen to on vinyl when I'm at home. You don't have to worry about skipping songs, side a, it's all great, turn over to b, it's all great. It's very rare that you find records that you can listen to all the way through like that. The first time I heard this I was like 'wow, this is the greatest record'. There is a very romantic feel to the songs. Obviously the Joy Division comparisons were coming right away but I soon got over that and heard them for who they are, they really have their own voice and I dug it. I think it really captures the spirit of New York. I grew up listening to a lot of British rock and pop music, and when I heard this it gave me vibrations from that."

"This was the first Powell film I ever saw. I saw it when it first came to New York, where it played for only a few days in its initial run, or so I figured when I tried to go back and see it again. I fell in love with that film, partly because of where it took place, partly because of who was in it, partly because of the way the music slipped in and out of it, and mostly because I could see that Michael Powell, whoever he was, was my leader. Years later, when I finally met him (I was trying to make The Riddle of the Sands with him, but couldn’t raise the money), I spent an entire lunch recalling all his lines from I Know Where I’m Going! In the face of my slavish foolishness, I remember he was most gracious."

"I vividly remember first seeing Jim Jarmusch’s Stranger Than Paradise and being inspired by the spare craftsmanship of his cinematic style. I love the simplicity of his scenes and his dry sense of humor, but the best thing is the way he brings us in and out of edits. Each scene opens with a little bit of audio from the forthcoming scene while the shot remains black. He cuts to the action in progress, and with a primarily static frame that gives us the impression of a series of tableaux, the scene plays out before cutting—not fading—to black. The restraint of this structure is deceptively simple as it calms and amuses us, pulling us along through the story in an unfolding rhythm that parallels John Lurie’s perfect score. And of course the black-and-white landscapes of New York City are irresistible."

"[Taxi Driver is] a film that really kind of struck me on an emotional level and as somebody who works and can kind of appreciate how films are made. I remember when I saw Taxi Driver for the first time, and I saw the creativity and the imagination that went into the shots that Scorsese chose, and to really kind of capture a very particular kind of New York. I thought it was really wonderful. You know, you can watch certain films and there are certain things that will stick out for you. It can be a great character or a performance or an ensemble performance or whatever, but when everything seems to come into play, it’s always really impressive, I think, when every single cast member is very strong. So I felt like with this film, cinematically, it just kind of ticked all those boxes for me."

"Just Kids was my entry point into Patti's career, and after finishing it, all of her previous work made a lot more sense to me and I became an obsessive fan. My favorite parts ofJust Kids are the stories in the beginning, when she first meets Robert Mapplethorpe and they are living together in Brooklyn with no money, listening to records and making art and surviving by sharing .80 cent grilled cheese sandwiches. I can't help but relate to all of it, as it's so similar to the way my friends and I all lived, in Brooklyn, when we were the same age. But it's fun to imagine their experience as opposed to ours, a pre-Internet, pre-Brooklyn-Boom New York. I ended up meeting Patti by chance a few months after finishing it the first time. Hopefully rereading it a second time will hold the same fate."

"In January 2007, after a particularly difficult shoot (both physically and emotionally), I found myself back in Chicago with some time on my hands. I didn’t want to edit, because I didn’t have the energy to confront the footage. The Gene Siskel Film Center was showing several of Kieślowski’s films, including all of his later work. Every day, I would make my way to the theater in the evening and sit there eating dark chocolate, letting the work pour over me. It was like a religious experience. I came away from that series feeling revitalized. The Double Life of Véronique and Blue were especially breathtaking. Sławomir Idziak’s photography left an indelible impression on me and changed the way I look at light. One year later, I went back to New York to finish that difficult film, and I finally had an outlet for all the good energy Kieślowski had given me."

"This shit was a life-changing album for me. The first time I heard Kanye rap was on ‘Champions,’ but the first time I saw him and figured out who he was was when the ‘Through The Wire’ video came out. That was the summer before I went to school, in June of 2002. From that moment, I was like, ‘This nigga is the truth.’ I was instantly addicted to the music. ""I went and got everything that was unreleased at that time. I was riding with him, to the point that when I got to school that semester in New York, luckily he had a show at S.O.B.’s. and I went. It was a legendary show. His album didn’t come out until like seven months after that, so it was early. That album is all of my memories of my freshman year of college."