"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."

"Jean-Pierre Jeunet is a filmmaker that I’ve since followed, you know, throughout his career and I think he’s one of my favorites and a kind of, you know, a very distinctive voice in France, but that film still I think is probably my favorite of his. I feel like he kind of almost returned to form a little bit with Micmacs. Micmacs really reminded me of Delicatessen in terms of its vibe. But Delicatessen is just, there’s a great amount of comedy to it, the characters are so bizarre and so well-drawn. The world is so strange, it’s not totally relatable. It’s very funny. It’s very dark. I remember when I saw that movie, I’d never seen anything like it. And I think by the time I saw Delicatessen for the first time, City of Lost Children had already come and gone. But Delicatessen was the first thing that I’d seen. And , you know, from an art direction standpoint, I think I was also so unbelievably impressed, because it was him and his partner, and I can’t remember his partner’s name who was also kind of like his art director."