"The book centers on the meteoric rise of a rock band in the ‘70s and its lead singers Daisy Jones and Billy Dunne, whose connection is as electric as the music they make together. It’s sex, drugs and rock ‘n roll, people!! The book comes out March 5, so you can pre-order it now… And the very best part?! Hello Sunshine is turning this into a TV show with Amazon Studios… so stay tuned for more updates!"

"It was our second record and we'd gotten considerably better, and were gelling a lot more organically as a group. Soul Food was essentially meant to be a compilation album and we had stumbled upon our own strange brew, and then with Still Standing we went into business together. We totally defined Southern hip hop for what it could be; it could be impact and nationwide. It's still a record I'm proud of to this day."

"Yep. A symphony of visuals comes together to communicate the essence of basic humanity. There’s no suitable combination of words to match the combination of cinematic choices that Kurosawa made here. I was lucky enough to see it on film the first time I saw it, on a big screen, with good sound, sitting next to my wife, who was also seeing it for the first time. That’s a combination of beauty that’s hard to replicate."

"To me, it’s just a very romantic story. It’s the ultimate, “let’s just drop everything and run away together” movie; the way the story was told was so unique. There’s one scene in particular where Anna Karina is on the beach, and she rolls over and she just says, “F— me.” To put that in a film in that time period — you just didn’t expect that to come out of her mouth. It’s titillating, I guess you could say."

"The plot of the novel is woven invisibly under you, and pulled out just as you are settling in. It is one of the best novels about a young woman that I’ve ever read. These moments of transformation and epiphany go by unnoticed by the outside world, but we have the privilege of being in Portia’s mind with her as she’s trying to figure out exactly how the world is put together and why people do what they do."

"Close-up and Blow Out make a great double feature, mainly because their titles sound so cool together but also because you can’t find two better examples of wickedly smart and politically alive “self-referential” cinema that couldn’t be less doctrinaire. Also, because including Brian De Palma proves I’m not a total snob and allows me to plug one of the funniest and most intelligent books of film theory of the past decade, Chris Dumas’s Un-American Psycho."

"Close-up and Blow Out make a great double feature, mainly because their titles sound so cool together but also because you can’t find two better examples of wickedly smart and politically alive “self-referential” cinema that couldn’t be less doctrinaire. Also, because including Brian De Palma proves I’m not a total snob and allows me to plug one of the funniest and most intelligent books of film theory of the past decade, Chris Dumas’s Un-American Psycho."

"Right? So this is a love story about a summer fling. It incorporated music and dance into a story that rang of nostalgia and the world as it used to be, which seems so different, and yet the emotions that all of the characters experience — from the couple that falls in love, or the parents or the sister — they all ring with authenticity. It all comes together in a way that is both memorable and moving."

"One of the scariest, most pessimistic modern horror movies, dressed as a romance. Roeg never had the elements come together the way they do here. Pino Donaggio’s score is unforgettably lush, and a reminder of how vital a collaborator movie music is. Christie and Sutherland are chic in deserted Venice. One of the most shocking climaxes ever—dread-filled and bloody. One of Paramount’s big Christmas films of 1973—today you can only marvel at that."