"In Argentina’s ‘dirty war’ in the ’70s, the military government had thousands of activists and political opponents ‘disappeared.’ This novel is about a mother and father dealing with the disappearance of their son. It’s a moving book that also has a lot of dark comedy in it. For instance, the parents accept free nose jobs in exchange for a debt. It also captures the comic absurdity of the bureaucracy of a dictatorship. What’s most interesting to me is, as one character makes clear, the truth tellers in life are so often written off as crazy."

"I really loved The Wiz with Diana Ross and Michael Jackson. I remember hearing that Stephanie Mills, who played the part of Dorothy on Broadway, wound up not getting the part. They had to change a lot of the details for the story to make sense for Diana Ross — that’s what got me interested to go see it. And then to see Michael and all the other stars in it. It was also really amazing how they transformed New York City into the fantasy world of an urban Oz."

"That movie is spectacular in so many ways. It has everything a documentary should have: unexpected twists, characters that are flawed and complex and crazy. And the story is told in a way that it feels like a compelling — almost fictional — narrative but its obviously as real as it gets. But there are times when you’re watching it and you just go, “Oh my God, did this really happen? Is this real?” I love documentaries and there are a lot of great ones. I’m a big Werner Herzog fan as well, and Errol Morris."

"I’ll start with Midnight Run. Just one of the finest Goddamn movies I’ve ever seen. Charles Grodin and Robert De Niro. If there’s a better buddy comedy, show it to me, and I’ll shake your hand. It’s so funny. It’s also where I learned what chorizo is. Being from Illinois, not a lot of truck stops serve chorizo and eggs. It was part of my “goin’ out west” legend, like, “One day, I will go to California, and on the way there, I will experience chorizo and eggs.”"

"I’m currently reading Last Train to Memphis: The Rise of Elvis Presley by Peter Guralnick. Young Elvis lived in a non-wealthy section of non-wealthy Tupelo, MS and Memphis, TN, and liked to wear a lot of pink, which was unusual in either place. He was kind of a rebel without a cause, but then he found his calling, and the success story is pretty entertaining. His junior prom picture shows a young girl with what looks like a cardboard cutout of the King…he’s just already totally there, and he’s like 16."

"I feel like that’s going to be a common one on a lot of these people’s list, but for me it’s just about the coolest movie I ever saw. When I saw it I was like, “That is so cool.” I don’t know if that was Charlie Kaufman’s intention, but I love that it was the real John Malkovich. I think that’s where I started to be kind of excessive with pulling back the fourth wall a little bit. Although, that might be a recurring theme with my movies, now that I’m thinking about it."

"I don’t know which John Waters to pick. The go-to would be Pink Flamingos — that was another movie that was pivotal, when I discovered that — but I would pick Polyester out of his movies. I’ve got a big soft spot for John Waters, ’cause again, there’s a guy who’s doing things on his own terms, and I think people would find his topics shocking but he has a lot of kindness towards these people, these characters. I love him. I just saw him this weekend when I was in Maryland."

"Each time I watch this film, I try to keep count of all of the characters. There are at least twenty-five significant roles and so very many outstanding women. This is a perfect Altman film and the one to start with if you haven’t seen any of his work yet. It captures a lot of melodrama in the country music capital, and some of the actors play fictional characters while others play themselves. Plus, there are so many awesome musical performances that serve to both enhance the setting and propel the narrative."

"When I was a teen, like for many of my generation, Monty Python were my comic heroes. But as brilliantly directed as the Python films are (look close at Monty Python and the Holy Grail—there are a lot of incredibly shot sequences), nothing prepared my for the amazing mix of humor, heart, and insane inventiveness that Terry Gilliam brought to his solo work. These two titles are films I bring up constantly in meetings in Hollywood—which usually leads to me being asked to leave. But I don’t care."