"This book was given to me by friend and colleague Ben Vickers, and although it was considered by Jung to be his most important work, very few people had seen it before it was reproduced as a facsimile edition in 2009. During the first world war, Carl Jung embarked on an extended self-exploration which he referred to as his “confrontation with the unconscious,” culminating in this extraordinary illuminated volume created between 1914 and 1930. Best described as an early example of bio-hacking the mind, he developed profound journeying techniques that took him to the essence of his inner cognitive processes, which he called active imagination. The Red Book charts these visionary moments in Jung's life with great illumination in a mode akin to the medieval manuscripts of the saints and William Blake's The Marriage of Heaven and Hell. Its true significance has yet to be understood in the 21st century."

"This is my favorite movie of all time, and the only one that I watch on an annual schedule (Thanksgiving) other than A Muppet Christmas Carol (Christmas). I first saw it on that holiday, and the experience was so meaningful that I suppose I’m always trying to recapture it. Coincidentally, on Thanksgiving my family used to travel to West Virginia, where the novel’s author, Davis Grubb, was from, and where the book is set. Grubb arguably doesn’t get enough credit for the look and feel of the film: I can’t really think of a movie that is more faithful to the tone and even letter of its source, and Grubb also essentially storyboarded the film. It’s such a rich parable of good and evil, and a boundlessly profound exploration of intangibles like innocence, loss, deceit, and the yearning to be loved. Although terror is a central theme, it’s ultimately a very comforting film."

"This was really important to me as a teenager. I was 15 and my friend put these headphones on me - I think I've talked about this in other interviews. It's embarrassing because I always say the same thing. But anyway he put these headphones on me and he had Live-Evil on his Walkman, and it just blew my mind. It was this culmination of wild instruments. It was just the funkiness, the wildness - it was all so beautiful. There was crazy trumpet on top of funky bass. I had never heard Miles Davis before so it was a crazy thing to hear for the first time. It really inspired my sense of exploration. I was listening to avant-garde classical music - which I never listen to anymore - and I was really interested in dissonance and wildness. So this seemed to be about letting yourself go and not worrying about, or being restricted by, style."