"I think they’re all fairly artful pieces of work, but I think my all-time favorite is Charlie Chaplin’s City Lights, which was one of the… well, it’s like now, somebody still making a film in 2D, three years later: he still made it as a silent film [after the advent of sound], with inter-titling, and it had a recorded score. It’s one of those films that I’ve shown to many, various groups of people socially. I remember going to a DVD night in Silverlake, with a lot of very groovy LA people, and we all had to bring a film. And they were bringing along, you know, Sin City and stuff, and I did a pitch on that film, without saying it was a Charlie Chaplin film — saying it’s about an alcoholic and this young, impoverished guy, and they’re best friends when the guy is drunk and then when he sobers up he doesn’t know who he is; and the young guy is wanting to help this girl who sells flowers on the street, and she’s blind. And they were all going, “Oh my God, this sounds amazing,” and then I said it’s in black and white and it’s silent and it’s a Charlie Chaplin film — and they all watched it and were just entranced; and this is sort of like the Tarantino crowd. I’ve always loved that film."

"I was also introduced to Michael Powell’s work during film school, and this one particularly blew my mind. I love when all the kids rush into the theater at the beginning to get good seats in the balcony. A title comes on-screen that reads, “45 minutes later,” but the shot never cuts or changes. From that point on, I knew I was in good hands. This film taught me that silent-film techniques could, and probably should, be employed in modern sound films. It has taken me several projects of my own to incorporate this lesson, but I’m getting there. I also love films about artists and the creative process."