"Finally, we’re going to go with a film that is so culturally relevant that as soon as I say it you’ll be able to quote at least one line from it. We’re going to go with Dirty Dancing. Because, come on, nobody puts Baby in a corner, right? Of course it’s been acted out, it’s been referenced in numerous films. It was in Crazy, Stupid, Love. This is the move that Ryan Gosling does to get the girls, right? And he and Emma Stone reenact this scene. So, you want to talk about a film that just had an amazing soundtrack, the performances were great, and it speaks to the confusion of teenagers growing up, but not in a, I feel like, a “loner” teenager way. There’s been a lot of teenage films where they feel like a loner. This is someone who liked her family, and she was a little irritated with her older sister as siblings tend to be, but she liked her dad and her mom, and when push came to shove at various points, she ran to her dad to help. There was something striking about how all of that worked together in a film that just made you feel good and want to dance and want to take someone to see, and then, how many years later, that film still holds up. And if you don’t believe me, go watch it. It still works."

"Alexander Mackendrick is probably the least well-known genius director to ever live. Nowhere is his brilliance more evident than in the down-and-dirty depiction of high-class gossip columnist J. J. Hunsecker and lowlife press agent Sidney Falco in Sweet Smell of Success. The great James Wong Howe films the gritty streets of New York in the style of the tabloid newspaper photographs that the protagonists traffic in. The movie was shot entirely on location, a rarity in 1957 but probably allowed due to the triumph of Kazan’s On the Waterfront just a few years prior. Burt Lancaster and Tony Curtis give career-best performances in this noir that depicts the fall of the mighty Hunsecker (Lancaster) and the sniveling, conniving Falco (Curtis) as the former tries to retain his crown and the latter tries to make it to the top of the heap of garbage he so aspires to reign over. The screenplay, by giants of the trade Clifford Odets and Ernest Lehman, crackles with what is commonly considered some of the best dialogue in the history of cinema. I just love every single thing about this gem of sleaze. Also featured on the disc is a great documentary, Mackendrick: The Man Who Walked Away, about how the director, fed up with Hollywood, took a job teaching film at the then nascent CalArts and became a great influence on his students—among them James Mangold, who is featured in an interview here"

"It's such a beautiful record. What can I say? Gram Parsons and Chris Hillman from The Byrds did these soul songs like 'Do Right Woman', which was originally recorded by Aretha Franklin and they played it like a country rock song. Also, they took like 'Dark End Of The Street', which was written by Dan Penn, originally for the soul singer James Carr on Goldwax, a Memphis label, which they also recorded in the style of a country rock song. Country rock is often a dirty term, but to turn that into something else, that transformation was incredible. Gram's gentle, soulful voice completely slays me every time! I'm in love with Gram Parsons. I feel like I know him. When I hear him sing, his voice fills me up and makes me feel loved. Admitting that you're broken and sad that a woman left you, feeling vulnerable was rare in music, apart from maybe soul and blues. But rock music was so macho. Gram turned up and wrote these beautiful original songs. It's okay to admit you're weak, it's okay to admit you have a broken heart. A huge influence on me and Primal Scream. Also, when I got married to my wife Katy England, I had Alexander McQueen design for myself and my wife a suit with satin lapels and hemmed embroidery in the trousers and jacket with roses, in tribute to Gram Parsons."