"This documentary is about the Leonard Bernstein-conducted recording of the score in the 80s, with Kiri Te Kanawa and José Carreras. That soundtrack was a staple at home when I was growing up – we had this glossy, massive four-cassette tape box of it. Bernstein is such an interesting person: temperamental, feisty, impatient, funny, smoking cigarettes in his red polo neck. And to see him conduct his music – this incredible, ambitious, interesting, crazy, heartbreaking music, which is never schmaltzy, but crunchy and angsty, and then with these moments of release – is really amazing."

"Loved this when I was a kid and love it more so now. My husband went to see them at their residency at the Tate Modern, but I missed out big time. They weren’t too huge in the states, but somehow, even growing up in Reno, Nevada, I got to hear them a little bit. This track is another that I’ve gotten to know more in recent years – one of those songs that was playing when I was getting to know my husband, on in the background while we were hanging out."

"There are two books that I absolutely live my life by. This is one of them. Growing up, I was always curious about religion. This book made the most sense to me; it's about the way you live your life. I believe in karma and doing the right thing even if it may not advance you as far as you want. If every single person felt the same way about karma and intention, then the world gets fixed tomorrow. But temptation gets in the way. Zukav is right: It may take lifetimes to learn."

"I have that shit, I love Southern rap. For whatever reason that just connects with me. I’m like, ‘Yes, no, mama does make crack like this.’ That makes the most sense to me. I’m just a little white kid growing up in the suburbs and I’m like, ‘Yes, mama makes crack likes this.’ ‘What’s that, Adam?’ ‘Nevermind, mom.’ “Basically, I feel like when I started smoking weed and drinking beer, I fell in love with every album. Every album is between 98 and 2003, it’s a real turning point in my life.”"

"I think I’ll probably have to go to from Seventh Seal to Seven Samurai. With Kurosawa using the tracking shots, the way he… the energy, just the kinetic energy on screen was amazing, especially with Japanese-style acting, which is very structured and very formalized, which then breaks out, and you’re slashing somebody in half. That is pure filmmaking. I just thought, “It’s just beautiful.” Again, another movie that’s about texture, and it’s a very different texture than you get growing up in America. That began my love affair with things Japanese."