"This is another film my grandfather showed me at a very young age. It was one of the first times I ever saw reality unfold like that on-screen. The more I watch it, the more that different things pop out. When I was young, this was the first time I ever saw an interaction between an African American and a young Italian kid—and that was big for me, because when I was in Italy my mother was always the only African American around and I was this young Italian kid. So seeing both these cultures represented, and seeing the way they’re represented, made me realize cinema could reflect life—that it’s not just about entertainment, that it can be about something very real. When you really think about the postwar years, the image of Italy was very much constructed through Rossellini films. In the era of Fascism, people like Rossellini and the partisan movement were silenced, so it’s not that they didn’t exist—it’s just that they weren’t allowed to be as vocal because their lives were at stake. The fact that he gave a voice to this movement, showing that Italy did in fact have this fiercely anti-Fascist side that suffered as much as anyone, I think was very important for how Italy has been seen in the postwar years. It’s one of those rare moments when a director has this deeply personal film to make that also coincides with one of the biggest events in world history. I’m definitely drawn to this tradition of filmmaking because I grew up on these films as much as I grew up on Disney."

"I would say Taxi Driver. First time I saw Taxi Driver as a kid, it f—in’ blew my mind. I’ve always been a huge fan of movies about solitary, sort of loner people. I think that’s what I liked about horror movies as a kid, because the monsters were always portrayed that way. And Taxi Driver‘s obviously the ultimate movie about that. I don’t know. I’m picking very obvious movies that are genius, but they were new to me as a kid when I saw them, and they just made me go, “Oh my god, the genius of movies.” I love Taxi Driver so much; I’ve seen it so many times. It’s probably one of those movies where I could recite the whole movie straight, or I could at one point; I probably can’t any more. But when I moved to New York — I lived in New York in the early 1980s — and I literally went to every location that was in Taxi Driver, and it was all still there: the porno theater, Variety photo place where Jodie Foster runs in front of Travis’ cab, the furnished rooms building where Harvey Keitel’s standing. I actually had a friend who lived in that building, so that was even more exciting. I used to be a maniac; I went everywhere. It was like my walking tour of Taxi Driver, New York. And again, I was like, “It’s Peter Boyle as the Wizard! This is the greatest movie ever made!” I remember seeing Peter Boyle at the Beverly Center once, and I freaked out. It’s like, “Who do you get excited to meet?” “Peter Boyle!”