"I’m skippin’ past all my movies right now in my mind, just so you know [laughing]. You know what? I’m going to go with Boomerang. Yeah. It was either going to be Boomerang or The Color Purple, but I feel like I’m trying to pick movies that not everybody picks. So I’m going with Boomerang. It was Eddie at the height of Eddie. It was a movie that was different than you had seen him do. The romantic comedy genre, and of course Halle Berry, who was still a fresh face at that time. I really enjoyed the construction of that movie. I’m a fan of the Hudlin Brothers [Warrington and Reginald]. They actually gave me my first internship in this industry. Absolutely. Straight out of college. My first internship was on a movie they made for Miramax, called Ride. I went down to Jacksonville, Florida and I was a camera PA on that movie. I learned a lot about Hollywood production. At that point I had made a movie, but it was an independent film that I made while I was still in college. This was my introduction to Hollywood filmmaking."

"It was the first classical music where it really sounded aggressive and almost punky. I just love the formalism of it, and even when I think about it, I get shivers. It really sort of does something to me that other music doesn't. I just love the way there's no drums and bass, it's just a lot of people going at it really rhythmically and beautifully arranged. Also, the harpsichord is right. The first time I heard the music was on the Peter Greenaway film of the same name, and that would have been maybe 1989. I remember thinking the film was mental, but I really liked the music! Obviously he did a few others of Greenaway's, and they're all fabulous of course, especially Prospero's Books. It was fun to meet him [The Divine Comedy played with the Michael Nyman Band at the 1997 Edinburgh Festival]. He was a wild man, as they say over here. He certainly knows his own mind. He'd spend the rehearsals with his headphones on listening for Crystal Palace's results and trying to flirt with the cello player, and I love his spectacles, he's always got a good range of eyewear!"

"Last but not least, man, will be a classic that really holds up and it’s not a comedy. I don’t want to end this on a neutral or serious note, but Rebel Without a Cause, man. I really, really dig that movie. I really dig that movie and I really dig James Dean. I dig what he was about. I’ve watched interviews and movies about him and stuff, and I just dig him as an artist and I really think that that captures… It’s a coming-of-age story, too, but it’s not the ones that we’re used to — that we’re going to laugh at and feel like, “Oh, they won out.” He’s coming from a very dark place as a teenager, which we all go through. I’m sure a lot of us haven’t been in the darkness as long as his character has, but we get how that feels and it’s kind of cool to see him simmering in that emotion. It’s not anticipated at all, so it’s really seamless. It’s really nice to see. You kind of see him growing up in, like, the scrappiest version it can look like."

"I have to pay my respects to two very influential cinema figures for me. Laurel and Hardy are probably the biggest influence for me, just in terms of sense ofm humour, when I was a kid, and in terms of what I continue to laugh at. If I had to pick one I’d say it would be Way Out West. I watched it recently and it still holds up. The reason why I think I latched on to them so much is because as a team they had such a great balance. Oliver Hardy was such a great anal retentive straight man, but still funny in his own right. They had such different comedic perspectives but when they worked together they created such a perfect synthesis; just a perfect balance of extremes, of odd coupling. I feel like all of my favorite comedy since then in some way draws from that — Planes, Trains and Automobiles comes to mind, and What About Bob?, and Midnight Run; these all employ the same template and they’re my favorites, but I feel like I can trace it all the way to Way Out West."