"I have a daughter who is six next week. I played her some Bruce Springsteen. She's really into sad songs. I played her 'The River' and she really locked into that song [Black suddenly starts singing, doing an amazing impression of The Boss]. She asked: ‘Is this a sad song? I like the sad songs.’ She really likes Bruce Springsteen. I really liked this record, and I downloaded it for our kitchen listening. I really got into some of the other tracks. 'State Trooper' is so great, so minimalist. It’s fucking two chords and a few words. It’s the most and the best example of that Bruce Springsteen song where he’s the character of a down and out desperate guy. And it isn't going to get any better. I’ve got into listening to Suicide. I didn’t realise that Bruce Springsteen covered a Suicide song. It made sense he’d get into the vibe of the song. It’s a song called 'Dream Baby Dream'. Suicide are so good at the psycho-rock’n’roll-landscape. Even though Bruce is not trying to be ironic, I think that Bruce Springsteen is trying to retain some primal instincts while being a modern guy on the street with a story to tell. Bruce Springsteen gets a lot of bad press because people like his songs so much. I’m OK when someone I really like does something I’m not totally into. I’m not worried. I still have the records I really love. If they’re really going to go to the top of the mountain, they can’t be there all the time."

"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?"