"Number three is 8 1/2. I feel like this is not particularly original of me, but this film probably has the most athletic blocking and camerawork that I had seen in any film. A lot of my favorite filmmakers have stolen from this film — you know, the filming from Fellini in general, but especially this film. I’ve already started stealing from him, but filmmakers like Scorsese and Polanski — so much of their technique is derived from really just the playfulness of this film in particular, and whenever I want to inspire myself to play with the camera and to play with blocking and to try to go a little bit further, I’ll watch 8 1/2."

"Finally another American band. Aerosmith. They are a classic rock & roll band. What am I gonna say? It's just such a sexy, gritty record. I think I've said this about a lot of these records [laughs]. But it's got vibe, you know... Aerosmith have a kind of danger element to them. You know the history of the band, it's well-documented. You could hear it almost coming apart at the seams almost all the time, and the fact that it didn't... They were just riding that line. The rhythm section was amazing. The way Brad Whitford and Joe Perry played together... I mean, give it a listen, it's a classic rock album."

"It stars Gregory Peck and Lee Remick as a couple who gives birth to the Bad Guy’s son. And how do you know? Well, he’s got 666 somewhere on his skull, and you got to move the hairs apart. I mean, it’s just very scary stuff, but when you really think about it, not a lot of blood and gore. There’s a scene where a guy is walking with the intent of hurting [the son, Damien], and then all of a sudden the truck rolls down a hill and decapitates the guy. You’re kind going, ‘What the Hell?’ And layer after layer of the story peel away until finally, later on, you understand.”