"Another classic, more romantic anime. I picked this one because some later episodes take place in New York. I’ve always loved seeing New York depicted in anime. The first one I ever saw was Mad Bull 34 – which is hyper-violent and over the top. Marmalade Boy (as the name suggests) is a much kinder vibe. Also, the basic premise was fairly ahead of its time."

"Number two is Fireworks by Takeshi Kitano. I remember when I saw it, I love the way he marries in that movie… it’s emotional and impressionistic but it still has these amazing outbursts of violence. I can’t think of a single movie [like it] that goes from, in one instance, being very delicate and poetic, to being almost obscenely violent. I think he’s remarkable."

"In Gleaners And I, what’s around you is what you survive on – it’s a kind of contemporary foraging that they’re doing. I thought of that, and Agnes [Varda, the director] was on my mind because, A) she passed away when I was making a film, and B) they brought back a print of Vagabond before I was shooting. I was in New York and I saw Lady Bird and the theater was packed and there was so much hype about Lady Bird at that time. Then I walked up and I saw Vagabond in this not-so-full theater and saw a print of it. I thought, “Oh my God, the inventiveness of that film and the sort of circular motion of it and how she just decides to let people talk to the camera at a point, even though she’s in this narrative!” Anyway, just her confidence to be so inventive with narrative form. She’s so inspiring. How she moved in and out of documentary and narrative and how her docs have such narrative threads in them and her narratives… she just opens the door, and it’s like, “OK, now you’re going to talk to these real people that aren’t actors,” and she is just very fluid between those two. I admire those things about her work so much."