"I saw this in the late eighties in the cinema, and it was probably the first art-house film I ever saw. I can’t really remember much about it now and really should see it again, but I do remember crying for about a week."

"A really definitive film about an incredible woman. She’s mint – the end! But seriously: I’m obsessed with the model Nina Simone set out for women. She allowed us to sing in lower, stranger registers. She made politics a central part of her art. She was uncompromising. The way her daughter leads her story in this film also gives it a really special perspective. You can’t help but feel humble before her."

"I saw this film in college, and I’ve never been the same since. It’s a bit slow in parts, but the imagery is so surreal and magical that I copied the look many times in some of my own films. The art direction is a masterpiece."

"One more. How about another film that Joseph and I were talking about last night, which is a wonderful film: Sunrise by Murnau. It’s a silent movie — I think it’s from 1927, something like that. And it’s one of the most beautifully shot movies you’ll ever, ever see. Just the pinnacle of silent film art photography. Deep emotions of, again, almost operatic story. There’s a lot of nature in it, there’s a lot of water, fire, sunrises, and sunsets that are connected to the story. Human emotions and consciousness and yearnings and failings and karma. It comes from a short story, and a very beautiful film."

"For all the splendors in this masterpiece, it’s another scene of actors watching a film within the film that left an impression on me. Guido is in a theater watching rushes of various actresses auditioning for the part of his mistress, while his wife (Anouk Aimée)—trying to contain her conflicted emotions—finally gets up to leave. This sequence was the basis for 8½ Screens, an art installation I did for the opening of TIFF Bell Lightbox, the home of the Toronto International Film Festival. There’s a clip of it on YouTube."

"Directors going independent to make precisely the film they want was not begun — as we sometimes think — by the latterday Johns (Cassavetes and Sayles). After World War Two John Ford formed an indie with the legendary producer (war hero also) Merian C. Cooper: Wagon Master was the lovely result, a film that seems like folk art. The stirring score and brilliant diagonals of Ford’s composition greatly inspired us in the Barcelona edit room — though I’m not sure if any trace of that influence could be found in our film."

"""And then I always think the Pixar film is always the best film of the year. Always. I just think they are amazing. Last year, I thought Coco was the film of the year. Those films are just brilliant, like Wall-E or Up, and you say, “How did they ever get that made? How did they ever get that past somebody?” I don’t know what’ll happen with Lassiter not there, but I’m a big animation fan. But I would say if I had to pick favorites, probably some of the Miyazaki films, those animated films. Spirited Away maybe. They’re just art. He is head and shoulders above everybody, and he said he was retiring. He’s like 86 or something. Then I just read he’s making a new film. Yeah, probably Spirited Away. It’s got 17 different styles of art in it. It just keeps changing. You just keep getting blown away. You can’t believe what you’re seeing"""