"Three Italians! I remember crying really badly with that when all the films in the projection room are on fire. I remember that also it was a film that when I was really young I could see myself reflected in the younger part of the film. And you can grow with the film, you know. When you become more mature you find a lot of sadness in the story of the old guy while he’s watching at the beginning and the end"

"Watched a lot of this on my phone on the RER B because I kept seeing the cover or poster or something. Watched it in sections on my phone, which must be blasphemy. I watched it while I was in postproduction for An Oversimplification of Her Beauty and briefly became insecure about finishing the movie because I felt that, as a person making a movie about making a movie about all the women in my life, I was accidentally plagiarizing 8½"

"Then, I don’t know… Now I’ve got to start flipping coins. Should I say, The Godfather, or do I say Platoon, you know? Both incredibly influential films on me as well. The Godfather is such an interesting film in that it does a lot of things to establish character in place in a way that’s so economical. You don’t realize that you’re being given information; you don’t realize that you’re learning. It was one of the best-directed films of all time."

"It’s a documentary, but I remember liking Crumb a whole lot. When Crumb came out I would go and see it like three times a week; I would be bringing different people to see it. I’d seen a couple of documentaries before, from Errol Morris or whatever, but that, I mean that one took it to a whole other level as far as I was concerned. I just thought it was the most interesting family I’d ever seen in a movie, really."

"I think one of the things I like about this record, and most of the records I've chosen, is that it has a real self-contained universe about it. When you listen you don't imagine they've done that, or what have they done there, it just seems completely in its own world and self-existing. It's a really psychedelic and strange record, but it's also a lot of fun… a theme that won't run through most of the albums I've chosen. Hahaha."

"I can give you them as they come to mind; right now, when you say “five favorite films,” the first one that came to my mind — and I’m trying to think of different genres as well — the first one that came to my mind is The Shining. I do not know why, but that’s been one of my all-time favorite films. I’ve seen it about four times. I think that’s a lot for someone who’s completely petrified by darkness and lonely places."

"Because I think it’s one of my dad’s masterpieces, and Joe Strummer was someone who was a big part of my upbringing and was one of my dad’s best friends. I have such great memories of hanging out with the two of them. It’s something that means a lot to me. I really think my dad put his heart and soul into that film and that’s the kind of film-making I wanna do. No, I don’t wanna direct. I wanna act."

"I saw Le samouraï for the first time at Cinema 21 in Portland, Oregon, when I was a teenager. The main reason I went was because of an ad in the alternative weekly that said it was John Woo’s favorite movie (which meant a lot to me when I was sixteen). Over the last twenty or so years I have enjoyed it for many reasons: Alain Delon’s embodiment of cool, its evocation of 1960s Paris, its melancholy reflection on self-sufficiency and isolation."

"My parents had a great record collection, going all the way up to the year I was born, 1984. My dad had a lot of 2-Tone, and I’d listen to “One Step Beyond” by Madness. Being a kid in New Jersey, that was a transmission from another world: the weird accent, the sax line, and the cover. They’re all leaning on each other, this huge group of dudes. I didn’t have a concept for that – it was this bizarre thing."