"Like I said, all this industrial stuff was part of what I was listening to before the age of 20. I was buying anything that I hadn't heard yet. I don't even know where i got the money to do this, but I did it. I would just buy it. If something, like this record, looked interesting to me, I’d just get it there and then. I had like three-hundred metal albums and once I remember trading them all in in one fell swoop. I traded 300 in and got 150 random records back, and this and Dome were in there."

"The documentarians David and Albert Maysles found some real-life Tennessee Williams characters in Edith and Little Edie Bouvier Beale, mother and daughter eccentrics holed up for years in a sagging, cat-and-raccoon-infested mansion in otherwise grand East Hampton. The ladies’ kinship with cousin Jackie Bouvier Kennedy explains their old-money sense of entitlement, but nothing can explain why two people would want to hammer away at each other for decades on end the way these two trapped souls do. Except that maybe you’d do the same thing under the same circumstances. I’d like to think I would, anyway."

"The first time I saw this film I thought there’s no way Tarantino wasn’t influenced in some way by Repo Man when he was making Pulp Fiction. This type of genre mash-up, a film that has unapologetic fun and is blissfully self-aware, is the kind of vibe I am always pulled to as a filmmaker. It's also insane that he made the film—as a student, for no money. The Criterion packaging for this one, with the comic inside, is one of my favorites. I showed it to the distributors when I was packaging A Girl Walks Home Alone at Night."

"I include this quirky novel in my list, because it is a satiric gem and one of the guiltiest of guilty pleasures. Terry Southern was a comic genius (Dr. Strangelove, Candy) who has never quite been given his due. The argument of The Magic Christian is a simple one, namely: There is no limit to what you can make people do, if you give them enough money. Everyone has his price. In this slim volume, Southern illustrates this point in a story that becomes increasingly outrageous and culminates in one of the most absurdly comic scenes in the American literary canon."

"I first saw this movie on a third-generation bootleg without subtitles while I was making my first real movie, Modern Love Is Automatic. It changed the way I made that movie (there were pickup shots in Modern Love that were slated “Jeanne Dielman, take 1”) and the way I thought about movies, art, and time in general. This movie never gets enough credit for how funny and tense it is—it’s equal parts scathing satire and deconstruction/reinvention of the Hitchcockian thriller. Film financiers of the world, give all your money to twentysomething Belgian women."