"Often, when I read filmmakers’ lists (including mine), I am frustrated by the absence of their contemporaries. The present is always the hardest to read, and no one will argue if you focus on masters of the past instead. But here are a few names, filmmakers whose work I have been lucky to follow since their beginnings; we’ve crossed paths, more or less frequently, but I have admired them constantly, also because they have been an inspiration. I feel I have had a dialogue with them, or with their films, and it is reflected in my own work. Edward Yang is gone, I miss him a lot, he invented modern Chinese cinema alongside Hou Hsiao-hsien, he was my friend."

"Apocalypse Now was one of the first films that I saw that showed film could be a malleable art form, something that could exist outside of a super-traditional three-act structure. Martin Sheen and his character are sort of wrestling with more than just trying to find courage, but also trying to find some reason for why he was there in the first place. Speaking to a lot of Vietnam vets, I know it’s especially prominent in the Black experience. Soldiers felt incredibly disenfranchised about Vietnam because they weren’t being respected back home, but expected to have the motivation to fight for their country. But looking at it even from Martin Sheen’s case, his character is white, but that was part of his motivation."

" Complete faves, yeah. We’ve spent a lot of time together, even before we started the film — that’s how we knew we could work together, by comparing films that we liked and talking about them. And so, our first one’s The Breakfast Club by John Hughes. Obviously, in ParaNorman, we’re picking up on different high school stereotypes, and John Hughes touched on that so beautifully — especially in this movie. I think the most amazing thing about this film when you watch it is that it’s just pure character. There’s no spectacle or anything. When you watch it — you know, it was a mainstream, successful movie and everyone went to see it — but when you watch it, it’s almost like an art movie."

"“I really relate to the particular type of mental instability that Dostoyevsky describes in pretty much all of his work. A character starts talking, and things start getting out of control and become increasingly animated, intense and disturbing. It reads like an extreme version of how I feel whenever I have to interact with humans. The Idiot is probably my favourite of his works, because I love Nastasya Filipovna, Aglaya Ivanovna Epanchin, Rogozhin… I think a lot of my friends think I’m a bit like Nastasya! Anyway, it’s the most cartoonish and absurd of everything I’ve read by Dostoyevsky, and the best distillation of insanity as a virtue. A Baz Luhrmann-esque treatment of this book would make an incredible film.”"

"Braveheart was another one that sort of encapsulates a lot of themes, and it’s very cinematic, it’s beautiful. I love the simplicity of that world, I’m a cowboy at heart. And I just love the idea of sort of, like, meat and hands and dirt and filth. I think the action was tremendous and violent and brutal. I thought the love story was delicate and romantic and beautiful and deeply felt. I love the sort of underdog themes: every man in his circumstance, these are things that sort of run deep in my body. The performances were great. I feel like if I was born in another era, it would be in that time or it’s a time I would like to be in. Really, really fantastic."

"Okay, I will pick a film with Bowie in it. [laughs] I’m going to say The Last Temptation of Christ, where he plays Pilate. All the Romans are English, and all the Jews are American. [laughs] I think it’s just a perfect piece of filmmaking. It’s brave and it’s imaginative and it’s about the most kind of profound things, and yet it’s very human. And the music — Peter Gabriel’s soundtrack is incredible. Again, every time I watch it… it’s the same with a lot of Scorsese’s films — as soon as you turn the channel and come across one, no matter how many times you’ve seen it, you sort of can’t stop watching it, because he’s a master story teller. That’s my five for today."

"Niggaz4Life is just… both the De La Soul albums had a cinematic quality to them, you can see those songs. With that being said, [on this album] Dr Dre had this sonic brilliance and pristine gangster music that just sounded brilliant. And it was orchestrated and sequenced very brilliantly, too. It seems like an awful lot of thought went into it. To me, it wasn't Gangsta with an 'a', it was Gangster with an 'er' - with a suit and tie. This is the business gangster; this isn't hold your gun sideways, this is Scorcese. Ice Cube not being there for this album was part of the appeal; everyone wanted to know what they'd be able to achieve without him. And it's a triumph."