"Well the next one is less action oriented. This is where I began to struggle. Because I had my first four and was like, “Okay, that’s perfect,” and then I had to pick another one. This decision is a bit tough; there’s a three way tie for this, I should say. I’m going to pick The Conversation with Gene Hackman and John Cazale. And the reason I’m thinking this is, I did a movie with Anthony Hopkins called The Rite, and the director of photography — we talked a bit. And he really wanted to have that ’70s feel and stuff — it’s when they just started to use the zoom lens for the first time, and how innovative it was. And then in the 1980s, it became overused and used for the wrong reasons and all that kind of stuff. The Conversation is one that, if you watch The Conversation for the opening sequence where you hear a conversation taking place as the master — this zoom from way up is zooming in over a park. And I was just absolutely blown away by it because you can hear exactly what’s happening, but you don’t see. You’ve got no idea who’s talking. You don’t know where they are or what’s happening. I was blown away. And Gene Hackman is one of my favorite actors. I just think he’s incredible; I could watch him read the phone book. I could watch him pretty much not do anything [laughing]. You just wonder what’s going on in his mind. He’s one of those actors who is saying one thing, but you know there’s so many different things going on inside of his head. You just never know exactly what it is and stuff. I love that. I love being kept guessing. Francis Ford Coppola is one of the greatest directors of all time, and what I thought was great was that it sort of embodies that period of time. Even though it was made in the ’70s and it’s a very specific ’70s movie, I think it’s very, very particular to today. You know, with surveillance and all that kind of stuff. And I just think the whole idea of it is incredible, and it’s just so well made."

"This is what I'm listening to most right now. Feldman is on constant rotation, but his series of pieces he wrote throughout the 70s for a solo instrument and orchestra is what I'm continually listening to. This version of Violin and Orchestra that the Radio-Sinfonie-Orchester Frankfurt did I'm obsessed with. I've been listening to it everyday for a little over a year. It’s one of my favourite pieces because of the forces that he’s implying but it does not sound like an orchestra piece. He’s so keenly aware of sound. He turns his eye to a different way of way of composing that makes it something that can’t easily be reduced into some formula. You can just get wrapped up in it. It’s mysterious and kind of unknowable. But it’s really compelling - I’m moved by how his mind works. He does away with very basic principles of orchestral writing, an understanding of chord progressions and melody and harmony, even rhythm. He develops the piece in a way that shows he’s clearly operating with another set of variables, like in the way he resolves a chord. You don’t feel the familiarity of that way of operating within Western music."