"In 1950s Baltimore, my parents were pretty open. They read The New York Times and listened to Woody Guthrie records, so you can imagine what kind of a household that was. They were immigrants from Scotland, and their taste included a lot of American folk music like, Woody and Pete Seeger, both of whom made children’s albums, so that’s what I would hear. Later, I heard their other songs, which obviously had a political slant and a story to tell and a point of view. That was something to realize at a young age: that a song could do that."

"I think this is a work of genius. It manages to be utterly hilarious, completely tender and touching, and biting and satirical at the same time. It actually taught me a lot about America. As I saw it shortly after I moved here, I realized that if these type of situations and characters were being parodied then they must actually exist. When the DVD came out, I bought it and I’m still reeling from the number “This Bulging River”. I think the only people I’ve ever geeked out about in an embarrassing way are the people responsible for this film."

"I think there’s something anarchic about it, which appealed to me as a kid, and appeals to me now. It’s Terry Gilliam, a phenomenal imagination, some brilliant performances. I think there’s something, obviously, very enticing and compelling about the story of a little boy swept up into a foreign land, having an extraordinary experience. I think that journey is kind of at the root of a lot of sci-fi narratives, and it’s easy to see the appeal. That kind of vicarious journey that you get to go on, but not actually experience, like the jaws of the dragon. It’s a thrill."

"One of the things I like about Scorsese so much is – and we had a little bit of that in I, Tonya – I love the sweeping shots. I love the way he shoots. The way the camera gets pushed in, zoomed in. I think visually is how I respond to him a lot. And he’s also a very musically-oriented guy. But the thing about Taxi Driver is, everything is done from Travis’s point of view. It’s all shot through these windows, these sort of glossy, dirty taxi windows. Everything is meant to highlight his isolation and how lonely he is."

"Medium Cool. I’m crazy about that film. To me, there are a lot of great films from that era because I was seeing them in our movie house when I was a kid [Luhrmann’s dad ran a theater for a period], but what I love about Medium Cool is that it preempts the idea of taking a real historical event and weaving a drama around it. So that’s great about it. Robert Forster is great in that picture. Not to mention — and I’ll be a bit flippant here — the clothes are fantastic. It’s just a great pop cultural picture."

"That’s another great sprawling big epic that follows various episodes in the life of Andrei Rublev, who was an icon painter in probably the 15th or 16th century — I’m not sure — and just various episodes in his life. I mean, he hardly features in many of them. He’s just an observer of a lot of this, but it’s magnificent. You really, really get a feel for what it might have been like to live in medieval Russia. It’s much more approachable than some of [Andrei] Tarkovsky‘s work. I absolutely adore it and watch it again and again."

"This film made me cry real tears! It’s about the 1976 Soweto Uprising and the injustice experienced by many Black people due to corrupt police and the flawed South African governmental system. I think it’s worth listening to Miriam Makeba and Hugh Masekela whilst looking at the momentous history of apartheid, and the fact many writers and musicians had to go to into exile in fear of prosecution. Also, in Come Back, Africa (1959) by Lionel Rogosin​, Makeba makes a cameo and sings two songs in a bar. One I cherish a lot is a lullaby called “Lakutshon, Ilanga”."