"The Blue Nile are masters of the slow build, and Over The Hillside is a prime example. A lot of their songs make me cry, but this one in particular has this sense of hope and patience that becomes almost unbearably beautiful when Paul Buchanan sings, "Tomorrow I will be there / Just you wait and see." It almost sounds as if he's about to die and is singing to heaven...but heaven is a place on earth, after all."

"I'm thinking first of this American movie in color, for its '70s-based reverie. For the myth of the road movie, the journey across the states, the speed, the photographed youth, almost like a Robert Frank of cinema in color. The simple light and opaque nights, from a time where the movies were very sensitive to emotions but the rolls insensitive to light. Back then you needed to light a lot but this movie escaped the rule."

"I had a chance to work with Jack Nicholson, which was a real thrill. You can scoop out a lot of performances from Jack, and consider them as possible films you could add to this list, but that was a great performance. Roman Polanski‘s direction is incredible too. It’s a movie where, the first time you see it, it’s kind of shocking because you don’t know where it’s going and how big the story actually is that’s being told."

"“This surprising spoof autobiography is not only hilarious, but also tender and insightful. Cheeta recounts his days working with Johnny Weissmuller as Tarzan’s chimpanzee sidekick, but it’s more than that. He also recalls his capture from the jungle and arrival in America. I can honestly say that I laughed, I cried, and I learned a lot. Why this baby has not seen a movie screen yet is a mystery. It’s another that I read and reread.”"

"I am mainly obsessed with the 1920s and 1930s. A lot of this record is inspired by the art, music, and film of that time, like Aelita, which is this 1920s sci-fi Russian film about a woman who lives in space. Their version of sci-fi in that time period was so elegant, beautiful, and minimal because they didn't have the same kind of imagination yet. It didn't become sci-fi in the way we see it now. "

"It was our second record and we'd gotten considerably better, and were gelling a lot more organically as a group. Soul Food was essentially meant to be a compilation album and we had stumbled upon our own strange brew, and then with Still Standing we went into business together. We totally defined Southern hip hop for what it could be; it could be impact and nationwide. It's still a record I'm proud of to this day."

"I was in fourth grade when it came out and it was the first type of music that I liked, that my dad thought was dogshit. Before that, I was just like, ‘AC/DC is cool, I don’t know.’ When I heard Weezer I loved it and my dad was like, ‘Uh that’s dogshit.’ I was like, ‘You’re fucking wrong, Dad.’ I cursed a lot as an elementary schooler. ‘Surf Wax America,’ ‘Buddy Holly’ all are just classics."