"The third of the trinity, and definitely the holy ghost of the analogy. The DKs were more sarcastic, political, and just plain weird—I think East Bay Ray's guitar work is hugely underrated, and they were generally musically more interesting than a lot of their peers. I could have picked any of their records, really, but this one has the classics."

"I’d say Casablanca. I love that it was a combination of political… It had a great love story, and it was unpredictable. It didn’t have the classic Hollywood ending, and that was what was great about it. Also, I love Humphrey Bogart, because he had the great ability to be masculine, yet vulnerable, and that was the perfect role to display that."

"‘No book destabilized my fraught notions of racial distinction and hierarchy — the belief that each race had different genes, diseases and natural abilities — more than this vigorous critique of the ‘biopolitics of race.’ Roberts, a professor at the University of Pennsylvania, shows unequivocally that all people are indeed created equal, despite political and economic special interests that keep trying to persuade us otherwise."

". . . because it’s Don Siegel and film noir at its best. And because Lee Marvin is outstanding in it. Marvin became a friend after The Dirty Dozen [in which Cooper was one of the dozen]. Sadly, I failed to make a political thriller that Lee and I wanted to do, which had been coscripted by Christopher Hudson, with whom I co-wrote Overlord."