"Dirty Mind is the first one where I feel Prince became the Prince we all know and love. There had been somewhat suggestive lyrics with 'Soft & Wet', which came out earlier, but this is where he went full force with songs like 'Sister' and 'Head'. The record cover, the whole package, really says something to me. Instead of looking like a black guy from Minneapolis, he looks New Wave and you can't really tell what he is. He's got bed springs behind him and the album is called Dirty Mind, the first song is called 'Dirty Mind' and it just hits you over the head with this new direction. Maybe my favourite song on the record is 'Partyup', the last song on it. I understand there's rumours that he sort of traded that song with Morris Day. He said if you give me that song I'll record an album for you or I'll put together The Time For You. It's just an amazing song. Spoon covered it a long time ago for this Prince compilation."

"You know, what’s touched me I think is GoodFellas… It’s a very real movie. GoodFellas is really some deep stuff. It was very good. It was believable. It just felt like Queens. I don’t know if a lot of that movie was filmed in Queens, but it felt like something that was happening in my backyard that I didn’t really know about. So it’s almost like a history lesson. The acting is so good. I’ve said that a couple of times, but that’s my truth. When he came out with the gun and beats the kid up for messing with his sister, the kid was like, “You got something to say to m–,” and before he could say the word “me,” he was beat up. That’s the scene for me. It was very real to me that guys would do that for their family. People just want to be successful in life. They all want to be happy. And some people go about it in a way that’s pretty destructive, but in that scene, you could see how much he loved his family."

"All right, Stanley Kubrick was a genius, the master of the big, ambitious film that stuns the senses, like 2001: A Space Odyssey. But Paths of Glory is one of the last great triumphs of black-and-white filmmaking. It is also a tribute to the talent of Kirk Douglas, who here takes on the role of a French colonel in the trenches of the First World War with such explosive energy that one realizes how many films (and directors) were unworthy of Kirk’s genius as an actor—his first acting role, by the way, was onstage as the servant in Chekhov’s The Three Sisters, with Catherine Cornell, Judith Anderson, and my mother as the sisters and Ruth Gordon as the dreadful sister-in-law. Nobody has ever captured the First World War better on film (except perhaps for Jean Renoir in Grand Illusion, which is in a class by itself). A heartbreaking giant of a film, not a bad shot or a wasted frame in it; perfect filmmaking."