"I loved The Big Short because it took a great approach to explaining the financial crisis to even someone who knew nothing about it. An all-star cast got together, and the movie was just done fantastically. The moments they broke the fourth wall were just amazing, to explain finance, which is really simple when you strip it down, but finance folks keep it complicated so no one gets it. Man, if society goes through that again, they just didn’t watch that. You can learn something from that movie."

"This is such a complete technical movie about such a simple idea done so beautifully. It’s a thriller with very few elements and it’s a deconstruction and pure poetry. The sum of the parts is more than each of the parts individually and it’s so simple, yet the pieces together blows your mind. It also places a big emphasis on shooting because every shot means something, not one shot is wasted. I strive to do that. I think it’s very important that every shot has to have a meaning."

"One of the most thrilling cinematic experiences I’ve had in a long while. Yes, Nic Cage is great. But it’s Andrea Riseborough’s unforgettable Mandy who holds this film together — her wisdom, her undeniable power, her freaky witch-wavelength — all of these qualities are potent in their presence and doubly so in their absence. For me, this is a film about all the hell that breaks loose when we continue to desecrate a woman. Plain and simple, it’s not pretty when we pull down The Goddess. Heavy metal feminism at its most unsparing."

"I have such a linear brain, so I admire filmmakers like Nicolas Roeg who can make these incredible montages that tell a story more associatively. It doesn’t seem like a huge effort for him; that’s just the way his mind works. There’s this feeling throughout the movie that there were many different ways that it could have been put together. When we were making Meek’s Cutoff, there was a scene we shot in which a Native American goes on a dream quest, and the writer Jon Raymond and I rewatched this for inspiration."

"The climax. The euphoria that comes from that intro. You know everything's going to be OK. You can feel they've gone through this hell, and they've arrived at this place that didn't really do them any good. They broke up, but it's a massively positive song, and it's absolutely fantastic. People say they didn't fulfil their potential - Keith Richards says bands don't stay together long enough - but really? They didn't have to. That one album is up there with Never Mind The Bollocks, with with any classic debut album. It's up there. Totally.""

"My whole list would probably be full of painting books if I were to be marooned on an island for real. Actually, because of the weight of art books, I’d probably go through my studio and collect together all the images I’ve ripped out of painting books over the years and take them in a folder. But if I had to take one artist, it would be Rembrandt, and this book, “Rembrandt’s Universe,” has the largest collection of his works included, and I’ve ripped out multiple pages from it."