"I think to this day that whole album, Fly Or Die is one of my top buys for so many reasons - every time I go back to it there's other things I hear in it. Even bigger than that, it was Pharrell and what he did with N/E*/R/D. It was the first thing that I identified with. I used to skateboard, and I always felt like what I was doing was ‘other’. And then I saw that and I was like ‘Oh. Sick.’ Someone gets it. There’s another black guy, skateboarding and they were into rap and hip hop and making beats and he plays drums. It was like there's room to do what I do, you know what I mean? This has never sounded old, like some records do. Some records of that era you listen back and they don’t age well. But I feel like that particular one, it's still very raw, still very honest. That was one of the first CDs I got in secondary school. My brother went to America and brought it back. And I was like ‘What dyou get for me?’ and he was like ‘Uhhhh... here.’ I’m glad I asked that question."

"A Streetcar Named Desire with Marlon Brando. I just want to put there. All these movies that I’ve listed, including Casablanca, you have flavors, which I like it. Drama. Comedy. And again, we may argue back and forth about what is drama, what is a comedy, right? What is melodrama? The Room never did melodrama. The thing what I listed all the movies, they’re not melodrama, they are relate to real life. Streetcar Named Desire, for example, you have, my understanding was, the time the movie was made, the main characters, Brando and… He actually raped the girl. And they cut this on the movie. That’s my understanding, that it was part of the script. So this is again saying that Streetcar Named Desire give us some evidence that people were still cautious what we present in the big screen that certain ideas or situation between two people, you cannot do it. Today’s society, as you know, we go extra miles. The Room is perfect example. We show the nudity, we show the certain stuff, because I myself, I was struggling as a filmmaker, as a director, how I present the scene. Same, you see, if you look at Casablanca, a relationship between two main characters, how they, you see… I love it, black and white movies. Sometimes you can educate yourself that you don’t have to physically show it, sexuality, but it’s there because you can feel it. Now, just because of our culture, I decided to say, “Hey, we go extra miles.” And I was struggling with this. You see, I had talked to Greg. I don’t know if he remembered but I said, “Hey, okay, is it Johnny naked or not?” I said — and I was so frustrated — and I say, “Hell with everything because I don’t know how… I want to be real as much I can.” Even though people say… Remember, The Room, and is again, The Room is supposed to be play. People forget that; they are short-handed. [laughs] I don’t want to be too negative, but that’s the history of The Room. So I will say, originally I was supposed to… I wanted to put into play, but it didn’t come out right. Actually it come out better because more people can see it. That’s basically what happen."

"I grew up with Oumou Sangaré's music. Oumou is the youngest icon that we have that the world knows. She's the one that really took this tradition to the world. I'm very proud of her because I'm following what she started. It's important to share what we have - our culture, and the image of a female on stage. She's beautiful, so elegant, and also has such a great voice. She sings deeply and in a traditional style, and to reach the world with this style of music, it wasn't easy. The fact that she's singing in Bambara, and also using this traditional instrument - which is the Kamele Ngoni - maybe she wouldn't be understood. But she did it. So today we follow the same path. Because after her you don't have any doubt, you know that it's possible."