"This movie has been a touchstone for me through my entire adult life. I first saw The Apu Trilogy when I was in art school, and I think I was confused or overwhelmed by it at the time—it was my first encounter with that kind of cinema. But it stuck with me, and I return to it over and over again because it’s endlessly beautiful. I love the economy of Ray’s shooting style; he always does these simple pans, or he’ll just have people walk toward and away from the camera. There are no complicated bilateral moves, and he really just goes with what’s in the frame. And his sound design is so powerful. These films manage to fit big political elements into tiny, familiar stories that follow the course of the life of a family. I got to see Pather Panchali in Portland on the big screen right before I started shooting First Cow, and it definitely had an impact on that film."

"Obviously that's a great soundtrack, and also my favourite blaxploitation film. I kind of remember growing up [thinking] blaxploitation films were silly, like I remember, I'm Gonna Git You Sucka, but then once I started getting into them, I was like, oh wow, they are really political movies that don't really exist any more, and what I wanted to highlight was the score by J. J. Johnson. He's pretty much up there with Quincy Jones, but I would love to see a biopic about someone like that who has this really long career spanning from bebop and going to Hollywood and starting to score for blaxploitation films towards the end of his career. These guys are just genius arrangers, composers, players, and while their struggle was within the Hollywood system, it's not like it was a face you know from a college dorm poster like Miles Davis or something - it could be played by anybody you know."

"I would be embarrassed to begin to talk about Dr. Strangelove, because there has been so much written about it. It’s so bleak. And Peter Sellers is perfect. He’s just perfect. Terry Southern and Stanley Kubrick built this doomsday political satire, in the fists of the Cold War, and made the end of the world hysterical. We’re bumbling idiots, all of us. We’re all walking through dark rooms of our life, bumping into furniture, and it’s shocking. I think we all enjoy watching people who are in authority positions act like bumbling idiots; it satisfies part of our ego, I’m sure, on some level. Sellers’ commitment to those characters… the scene that stands out is when he’s trying to get change to make the phone call to stop the bomb, and that security guard won’t let him break government property to get the change. The frustration of that is as painful as it is hysterical."

"Earl Long, younger brother of Huey Long and a two-time governor of Louisiana, was one of the most colorful politicians in the South. By the time A.J. Liebling came to Louisiana in 1960 to write a profile of him for The New Yorker, Long had compiled a truly tumultuous political career. His addiction to betting on the horses was legendary, his affair with the stripper Blaze Starr had been the stuff of gossip columns for years and, most notably, he had been committed to an insane asylum (by his wife, “Miz Blanche”) while he was the sitting governor. Realizing he still held the reins of power even though incarcerated, he fired the head of the state hospital system, discharged himself from the asylum, and simply walked out. As Liebling’s profile became a series of articles and then finally a book (which I treasure), his regard for Long evolved from one of bemused contempt to respectful admiration for a wily politician."