"The last one, I’ll say another classic: 2001. I think it’s a movie that you can watch every year and you’ll keep discovering new things. It’s funny how, as time goes by, the movie becomes more relevant and poignant. I love the fact how the storytelling of Kubrick is always inviting you to interpret the movie yourself, but at the same time it’s so rich — so much layers. The fact that now we’re living in a moment where technology is replacing man from [the] center of life — Kubrick really started to talk about that so many years ago, and I think it’s overwhelming. Every time I see it I think it’s overwhelming because I discover new things."

"When I was a kid I saw My Name Is Joe in the theater. I’d never seen anybody act like Peter Mullan before and I’d never seen a movie like that, period. Watching Mullan in that movie I was just like, how do you do that? How do you get actors to do that? After that I watched every Ken Loach movie I could. Kes is one of my favorite movies ever. The plot of We the Animals is very smiliar to Kes; we follow the same formula. In fact, the entire last third of our movie is completely ripped off from the end of Kes and follows almost beat by beat the storytelling of that film."

"I’m gonna say Chinatown. That’s just great storytelling, acting, directing. I think Polanski’s an amazing director. It’s opera, you know. It’s the biggest issues. You can’t tell an epic without a big problem, and Chinatown is brilliant in the sense of Los Angeles history — the whole creation of the Valley, and the diversion of water to make the Valley. [Screenwriter] Robert Towne was able to take a very interesting historical fact — what’d he call it, Mulwray instead of Mulholland? — and tell this amazing personal story about it. I like that very much. I guess The Godfather is similar to that in many ways; obviously based on certain facts. I like that historical aspect to Chinatown as well."

"I thought The Godfather I and II were spectacular examples of wonderful storytelling, evolution of great characters and drama, amazing directing, Carmine Coppola’s spectacular music — I’m also a musician so I pay very close attention to music. I thought everything about [director of photography] Gordy Willis’ lighting… Of course, if we want to talk about lighting, let’s talk about Vittorio Storaro [director of photography] for The Last Emperor, breathtaking. [The two films] are sort of bookends; one doesn’t work without the other. It’s kind of the left and the right hand. I couldn’t really say which one was better to me, although in terms of creating a foundation, I think [the first one] was, once again, a masterpiece."

"This really scared me coming out of it. You knew it was made for 10 cents – that was obvious – but it actually had some fabulous performances. Some of the moments – like when Leatherface kicks open the door and comes after them – I mean your blood just runs cold. It was just amazingly visceral visual storytelling. A few years earlier, I was at college and I wrote a synopsis for a novel and my teacher feedback was “this would make a great movie!” And I was crestfallen, but it made me realise I had a great visual imagination as well, and for years I fought it but eventually realised that was the thing I could do"

"I just watched, on New Year’s with a bunch of high school friends, The Breakfast Club, which I hadn’t seen in years. I remember being very affected by it but I couldn’t believe how well it held up, and I also couldn’t believe how well I actually knew the movie — like, I remembered every frame of that movie. It’s such good storytelling and it’s such a perfect blend of comedy and pathos. I kind of underestimated the effect that John Hughes had on my consciousness. He really taught, I think, a whole generation of people empathy. It’s kind of a marvel, that movie. So that’s certainly one of them; I have to put that up there."

"I saw The Wild Bunch on a double bill with Mean Streets, midnight at the Waverly Place Cinema on Bleecker Street in New York [in the 1970s]. Those two played on a double bill; I was in New York, I had a studio and I was basically a practicing artist, working with various art groups — Art & Language, kind of conceptual arts, political arts. We were doing environments, we were doing installations, performance pieces…and I stumbled into this incredible double bill. And it was a life-changing experience. I thought they were just extraordinary. [Sam] Peckinpah for his muscularity, his immediacy, his sheer genius in his storytelling and characters. I was knocked out."

"La Jetée is probably the most powerful example of the use of still photography in cinema. It is a real landmark achievement in the world of low-budget filmmaking, produced primarily through the use of still photos and voice-over narration. Its limitations enhance the dramatic effect of the film, especially in its haunting final frames. I’ve always felt like so much great cinema is storytelling through memories, and here is a perfect example in possibly its purest form (another great example would be Memento, by Christopher Nolan). Similarly, Sans Soleil documents Marker’s journey through Japan, adding his travelogue notes as voice-over narration. A hypnotic and powerful film in its own right."

"La Jetée is probably the most powerful example of the use of still photography in cinema. It is a real landmark achievement in the world of low-budget filmmaking, produced primarily through the use of still photos and voice-over narration. Its limitations enhance the dramatic effect of the film, especially in its haunting final frames. I’ve always felt like so much great cinema is storytelling through memories, and here is a perfect example in possibly its purest form (another great example would be Memento, by Christopher Nolan). Similarly, Sans Soleil documents Marker’s journey through Japan, adding his travelogue notes as voice-over narration. A hypnotic and powerful film in its own right."