"I actually had the poster of Saving Face hanging in my room for a long time. It was the first Asian-American movie that I saw that really connected with me. I’ve seen some Asian-American indies, but that really kind of opened up my search for them. I didn’t even really know about the genre when I first saw it. It was written and directed by an Asian-American woman, Alice Wu, and it centers around, an Asian-American lesbian. It stars one of my favorite actresses ever – Lynn Chen – and Michelle Krusiec. This girl, she’s from Queens, and she takes the 7. It was the first time I’d ever seen a movie with an Asian American on a 7 train! I think that was the first time I really understood what representation was. But it hit closer to home because she was an Asian-American woman and because, you know, she is from Queens. And she went to Flushing all the time, and her mom [Joan Chen] was kind of this Flushing socialite who actually becomes pregnant. And she kind of has to go between both worlds of being the good Asian daughter and also coming to terms with her sexuality. It was one of those movies that I think explored a lot of layers about the Asian-American experience and the negotiation that come with it. And, so, I love that movie so much. I still have the poster somewhere."

"I shamefully saw this study in maritime lunacy on one of those industry links that emit noxious gas from your computer if you dare to forward to anyone. I was about to do a joint interview with Robert Eggers for MovieMaker magazine, hence the link, and was pretty excited given how much I loved “The Witch.” “The Lighthouse” is unlike anything I’ve seen. Willem Dafoe reminded me a lot of a security guard I worked with at Trollope & Colls joinery in Reading many moons ago. It was that look in the eye from someone who saw too much of what was in their head. That’s something I instantly recognized and it brought me right back to the gates of that joinery. There were too many similarities — the pride in the job, the obsessive attention to detail, the authoritarian streak and the delusion. I got to reimagine my days archiving a room of architect’s drawings in a joinery as being stuck in a lighthouse with a flatulent Willem Dafoe. I adored the dialogue and I could listen to Dafoe and Pattinson endlessly if Mr. Eggers ever did any radio play spin-offs. There are elements of Harold Pinter and Herman Melville amongst a host of other touchstones I probably missed, but it’s a film steeped in its own logic. Its saline black & white photography is also moody enough to probably tempt Béla Tarr out of retirement."