"I was lucky enough to work with Joan Tewkesbury, who wrote Nashville, and the process that she used to make the film is something that I find to be very helpful. She went to Nashville and wrote about the people she encountered when she was there. So in that way, the film was born out of the place. It wasn’t a film that tried to encapsulate the place but a film that tried to grow out of it. There’s so much realness there. For people who didn’t live in that time, that’s the image we now have of Nashville then, in the same way that Paisan created that image of Italy."

"He identified in a way that was so joyously American; an innocence and a humanism. Just a beautiful heart, that he had, and was able to put into his work. Adding screwball comedy elements to it, but at the center of which were these important thoughts about how lucky we are to be alive. He was able to do that in ways that are cinematic and entertaining as well. And eliciting these performances — like Jimmy Stewart in Mr. Smith Goes to Washington (1939, 96%) and Gary Cooper in Meet John Doe (1941, 92%), Cary Grant and everybody else involved in Arsenic and Old Lace (1944, 90%)…"

"I can't pronounce it either! It's a fantastic record. It's got such a gorgeous mellow vibe to it. It's kind of accessible to people who aren't familiar with jazz, but it also has kind of this free, loose thing. It's not free jazz, it's definitely modal. It's got Pharoah Sanders on it. It's lush and gorgeous and kind of takes you to a different place. Sometimes Alice Coltrane plays the harp, which sounds dreamy. It's one of my go-to's in the morning at work (in Sub Pop) I just kind of put it on to get me going. I probably drive some of my co-workers crazy playing it. You know, there's not a really obvious influence in our music that comes from jazz. I know I'm influenced by it, but I'm not sure how. I don't like all jazz, but certain things I love to death. That's the problem with this list: I can't stick Charles Mingus on it, or Andrew Hill, or Ornette Coleman, or Albert Ayler. One of the things I feel lucky about, my high school friends and I who formed Mr. Epp, we would go to our little record store in our suburban town and the guys there turned us onto The New York Dolls and Ornette Coleman and Ayler and The Velvet Underground, Brian Eno. I feel really lucky to have stumbled into that, at that time."