"I grew up watching western films, and for someone to slow down the pacing to a sort of a western drama — I just thought was so incredibly well done. The acting in it was absolutely phenomenal. The cinematography of it was beautiful. The tone, the production — just everything about it. Go down the list of everything about all the departments of a film and I feel like everybody nailed it on that one — just knocked it out of the park. It’s just such a beautiful piece of film to watch. Sometimes I like to just play it in the background with the volume off — just to be looking at the imagery of it. Oh, man. Watch it with the lights off. It’s awesome."

"Potemkin is taught in film schools worldwide, more like a fossil than a real, breathing animal that must be dissected. Watch it because it’s important. So budding filmmakers are taught about formalism and montage, and they rarely get to watch Eisenstein’s later works, like Ivan the Terrible. They’re missing out: imagine a biopic run through the meat grinder of German expressionism, with every image connoting the pitfalls of absolute power, with cutaways of faces that are thankfully forever captured in celluloid marble, with a sense of mounting state paranoia and ever-crumbling artifice. Potemkin may have the classic scenes, like the dish, the lion, the guns, but Ivan has taken all those early lessons and boyhood feints and given us a masterpiece."

"Mike Leigh’s a big filmmaker for me; I’m just now realizing how influenced I am by him. I keep returning to his movies, and I could watch them over and over. Naked does seem different than all of his other films—he’s got a darkness throughout all his other stuff, but this one is the darkest. You get hints of the mystery of how he’s working with the actors and how close they are with each other. There’s a part of me that’s jealous of that but also wants to aspire to that, to have that kind of intimacy in the way you create characters. When you watch his movies you can feel how hard they’ve worked and how immersed they were."

"Breakfast Club. I was actually having trouble because I would say Pretty in Pink, Sixteen Candles and Breakfast Club, but that would be three. Of all three, Breakfast Club is my favorite. But those John Hughes films, with Molly Ringwald and the Brat Pack, those are my favorite grouped films. They’re just so… they’re timeless. I feel like, even when you’re watching them now, they’re so modern, and the characters are so real. They’re just so appealing to me. I watched them with my mom when I was really young. I always would watch things with my mom that maybe other moms wouldn’t allow their kids to watch. I associated with them right away. I just really, really love John Hughes."