"I remember seeing A Clockwork Orange as a very young kid — probably too young to be seeing it — and there was something kind of dangerous about that world. It was like I know I should have been watching, but there was something about the style in which it was shot. Maybe it was how long the camera stayed looking at one thing, but it didn’t move very far. It captured a certain theatrical nature of something. There was almost a vaudeville quality to it all as well. I think I’m drawn to that because I have a love of theatre, and of pictures that are perhaps a little bit larger than life."

"This film changed my life. I wouldn’t have known it existed if I hadn’t gone to see a terrible Don Johnson movie, A Boy and His Dog, in a double bill with my brother. We’d see anything in Oklahoma City to pass the time, and we were the only kids in the theatre, smoking a joint. Then the second film came on. I hadn’t known this period of Pink Floyd. It opened up a new world of music to me. I was 16, wanting to be a rock star, and they actually talked about how they made their songs. I went out and bought a Stratocaster like Dave Gilmour’s soon after. I still can’t believe I had the luck to see it."

"Despite the kind of movies I make, I love small, little movies. I love foreign films in general, I love to see something that really moves me emotionally, and that moves me to tears. Maybe Cinema Paradiso is a little bit of a cliché, but I’m sure every cinema lover lists it as their favourite movie. There’s something so beautiful about it, I love the milieu of the little town and this boy’s story and what the whole thing says about how lives go and about our dreams and memories. When he grows up and goes to the movie theatre and sees all the bits that the priest cut out and it reminds him of his childhood… Cinema doesn’t get more beautiful. The whole film is about the incredible nostalgia of movies in general."