"Going in a little different direction, Apocalypse Now is an unbelievable piece of cinema. Just the scale of the production and the performances. I feel like, narratively, it’s one of the… There’s a subgenre of Vietnam movies, obviously, and this one just feels so epic and operatic, in no small part because it uses Wagner’s Ring Cycle as the score for one of the great battle scenes. I don’t know, I can’t say enough about it. And then, of course, seeing Hearts of Darkness, the documentary about it. That just made me love it even more, because you can see the creative depth that Coppola went to, the depth of his soul that he dug into to not just make the movie and keep it together, but to sort of fight for coherence in a chaotic production, and I love the discovery. I mean, clearly, when Brando showed up on set, it was such a disaster, because he didn’t know his lines and he was a hundred pounds overweight or something, and he basically refused to learn his lines. But then Coppola worked with what he had, and to me that is the most… He wound up with something genius and more coherent than what may have even been on the page originally. There’s a quote by Orson Welles that the absence of limitations is the enemy of art, and I feel like Apocalypse Now is a kind of great tribute to that idea, because Coppola just faced so much adversity making the movie. Not just Coppola, the cast, the crew, everybody faced so much and dealt with so much and then created this transcendent piece of cinema that captures a dark piece of world conflict history and some very intimate stories of young people sucked into it, and then, of course, a meditation on the darkness of the human soul, which is an important thing to explore artistically from time to time."

"Second I would say came out roughly around the same time but probably, The Silence of the Lambs. I just loved that movie. That too, me and my buddy Dougie Thornel… We actually were too young to get into that movie, but I remember one time we weren’t allowed in and then we snuck in anyway, and again, it was one where we went back and back and back. I think Ted Levine’s performance as Buffalo Bill is one of the most haunting performances that has ever happened on film. He’s an actor that I admire so deeply and I really love… Especially in the last few years, I’ve gotten to take these parts that are only in a few scenes and really create as rich a back story and history for the character as possible, and I thought he did that so cogently and so beautifully in that movie. Its not just that there are so many quotable lines, but you really see the depths of the torture that’s going through him. It’s such a meditation on serial killing and psychotic murderers, and I love the fact that Hannibal Lecter — obviously one of the great characters of all time — but I just love the fact that you don’t know whether to root for him or against him. I think it’s the ultimate anti-hero character, and the fact that they were able to achieve him being able to… you know, at the end of the movie, you’re actually rooting for him, that he got out and that he’s going to go eat people. I think that’s just so f—ing awesome. And obviously the scene with Levine and Jodie Foster with the night vision. It’s a book that I loved and I think its one of those rare times where I think the movie totally even outshines the book. Wow, what a film. It will always be one of my favorites."