"I think that this is one of the best albums of all time. It's hard to talk about. I feel like that album is the Sgt Pepper's of my generation. It's a record that knits together a whole generation of music-lovers. The fact that it's separate and isolated is sort of poetic. My generation wasn't connected by a band; we didn't have a Beatles. We had our own bizarre little pockets of music, our own separate ways of listening and connecting. That record functions in the world unlike any other record. I've never seen anything like it. It is a religious record. People feel so fondly about it, in such a profound way. Beyond time and space, on different continents, at different parties, the name of that band will come up and you and stranger will grab each other's hands. There's not a whole lot of music that can do that. Something about that album and those songs created a deep thread of human connection through a lot of people. I think it's incredibly rare. I think all musicians inherently want to connect, because that's what music is. Music connects you, through this magical medium, to another human being. Listening to Neutral Milk Hotel and looking at the artwork for that record and listening to how it was made, and thinking about the mythology of the Elephant 6 collective, it's like Sgt Pepper's – you imagine that there's this magical world somewhere, with all these crazy musicians, living down the road from each other, banging on pots and pans and playing brass instruments, and you want to be there. You get to soak that magic up just by listening to the record. Brian [Viglione], the drummer in the Dresden Dolls, got to see Neutral Milk Hotel when they were touring that record. He was the one that turned me onto it. In the middle of the night, after our very first band rehearsal, he took me over to his house and said 'I can't believe you've never heard this record. We're not doing anything until we sit in the dark and listen to it from beginning to end.' That record was always really important to us."

"What’s to say about One Flew Over the Cuckoo’s Nest that someone else hasn’t already said? It’s perfect. Milos Forman, wow. It’s the most soulful, most heartfelt movie ever made. It’s hilarious. The most dynamic performances — Jack Nicholson’s just robust persistent optimism in that movie is so infectious. His complete lack of sympathy or empathy for anyone who wants to reject life. That character is something so unique. I don’t know if it’s ever existed in the way that it did in that. Not to mention the whole ensemble of Danny DeVito, Brad [Dourif], everyone in that movie is incredible. I find that it’s got such a sense of humor and such a light touch, but it’s also got such a deep, patient eye. I love it. I absolutely love it. I saw it in theaters the other day and just sobbed. I saw it with my dad, and we were both weeping. It’s such a nice uniting film between many generations. It’s got a universal, timeless quality. In terms of directing, what he does in that movie is kind of impossible. He has no real scope. He’s in that asylum, and yet it’s this delicious, not bleak movie to watch. All the greens and whites, everything is so pretty. Just the cigarette smoke, and the way he navigates the camera around that area and all the color palette and his choice of shot, it’s really a feat. Only once you’ve made a movie do you see how much you rely on your surroundings and your environment and how I was spoiled because I was shooting in New York on these rooftops. It’s not even fair. I’ve got all these buildings and these lights and these streets and the homeless people and all this crazy, vivid environment. To shoot a movie in one location essentially and make it that lush and interesting; to be fascinating the entire way through without it feeling like a play on wheels. I can’t understand it. I’ve seen it a billion times, and I can’t understand it. Like how is that possible?"