"He's one of the blues guys in Mali. Not everyone knows him but one of his tracks ['BèrèBèrè'] was on [the movie] Black Panther, with Ali Farka Touré. I've had this record seven years now and I still listen to it. It's one of those records you don't get bored of. His sound is different to Salif [Keita], to all the male artists in Mali. There's something very different in his style. He's quite modern but at the same time, traditional."

"That’s a movie that was really, really funny. It’s about grownups. It’s about grownups having grownup problems. There’s no bad guys in it. It’s really funny and really moving and really complicated and messy. Honestly, when we were writing The Big Sick, that was a movie that we used as a reference point, to be like, “If we can try and make a movie that’s similar to Broadcast News in tone, then at least we’re trying to the right kind of thing.”"

"I got on their train early and I’m just a really big fan of them. What’s cool is they’re a fan of Workaholics. They just did a cameo on Workaholics last week, which is cool to have some of my favorite rock stars to be like, ‘These guys are the shit.’ [People think this is one of their first albums] from all the commercials for the Brothers album, but you’re like, ‘Nah man, they have 10 albums.’ They’re still doing it big."

"While working in story on an early version of Wall-E, I boarded a sequence featuring a chase through a cityscape. Andrew Stanton, the film’s director, called me on it: “This is so Third Man!” He had a big smile on his face, and why wouldn’t he? I’ve learned where to find tough guys who cast long shadows. And I’ve also learned where to milk a character reveal: Carol Reed plus Anton Karas plus Robert Krasker equals Harry Lime, and cinematic perfection"