"There’s Bonnie and Clyde. That’s a film that kind of started the new wave in the ’70s. That was incredible. I saw that when I was in about the eighth grade, I think. Those characters, and also the history of Bonnie and Clyde, you know… it was something new. I remember, in fact, Bonnie and Clyde came out in either late Spring or early Summer, and then it was pulled. I think it flopped when it came out, and then they brought it back out in the Fall. I mean, I loved it when I first saw it; then they brought it back out in the Fall and it was a huge success."

"The Japanese New Wave is almost synonymous with Nagisa Oshima. His film In the Realm of the Senses outraged critics and audiences alike with its many scenes of unsimulated sex. Here he takes similar themes of lust and murderous passion and explores them through the supernatural, crafting a ghost story that puts Japanese society and cultural conventions on trial in a masterful way. Who are the criminals here? Those who dare to pursue their feelings and impulses, or the society that forbids them the freedom to do just that?"

"When I got into documentaries in the mid-eighties, I discovered how you could not just observe but also sculpt reality. This is when I fell in love with the Czech New Wave. So Forman, Passer, Nemec. My favorite film from that era is probably Loves of a Blonde, which looks at the world without an agenda, rhetoric, or plot mechanics, but with lots of empathy and irony. It shows that if you have a good sense of casting and know where to put the camera and when not to cut, the most ordinary things can be lifted into something poetic and timeless."

"This came out right around the time that a new wave of Mexican filmmakers were making a splash on the global cinema market. It was a very exciting time, I think. And no film exemplifies that period to me more than Alfonso Cuarón’s beautifully intimate Y tu mamá también. It felt like he really captured Mexico, and the complexities of male friendship and intimacy. And those moments in our lives that change us forever. I just saw Roma at the Savannah Film Festival and was blown away. It feels like he’s come full circle. I see an artist really contemplating life, and it’s very inspiring."

"Agnès Varda’s New Wave masterpiece about a famous singer/fashion model who abandons her blond wig and rediscovers her identity on the streets of Paris is jam-packed with vivid detail, an expressive graphic style, and an eye for urban chaos, and is at least as engaging and inventive as Breathless and The 400 Blows. While waiting for this film to enter its rightful place in the canon of great movies, buy it now and enjoy its distinctly up-to-date sensibility. More than forty years after it was made, Cléo from 5 to 7 is a perfect movie for our times, digging beneath the surface of fashion and celebrity culture."

"When we were growing up, we had mutual friends. I used to go and watch them play at the Bug Bar in Brixton when I was 14… I remember them getting signed to Fiction and how exciting that was. I’ve still got one of their demo CDs, in a photocopied and stapled-together packet, which had their early song Latchmere on it. Latchmere was a swimming pool we all went to; it had a really good wave machine. That’s how their song goes: “Latchmere’s/ Got a wave machine.” When I watched the Maccabees play at Glastonbury this year, it was so moving – seeing all those random people singing their song back at them, about a little swimming pool that was a huge part of my youth. It took me back… I’d say they’re the most consistent band in the UK right now. Without fail, they deliver with their songs, and I find them very inspiring for that. They know who they are; as individuals, as friends, as a band. They’re lovely boys – and with their new record, Marks to Prove It, they had their first No 1 album."

"Super influential record for the new wave of British heavy metal. Super influential record for Megadeth and Metallica. That was one of those records that everyone should listen to but not a lot of people know about. I think the beauty of it is the simplicity of the British riffing and the general approach to the music. I'm sad to have seen the band fall apart from its classic line-up although I don't know that they were necessarily prepared for greatness, if I can put it that way without being offensive. They were heralded to be the next Led Zeppelin and I get it. But I think internal problems started around when Canterbury came out in 1983."

"This is the single most underrated film of the entire French New Wave. Its near obsessive tracking of Maurice Ronet through the wet Paris streets as he retraces the steps of a wasted life makes for one of the most tightly focused of the era’s film portraits of a desperate man at the end of his rope. Its slow build toward an inexorable end is Louis Malle’s most nuanced work—this from a director who was already noted for his almost classical discipline. Ronet, until then largely thought of as a lightweight romantic film actor, surrenders himself to the downhill yet strangely transcendent fate that awaits him on the mirror of his room."