"Another movie that is hugely influential to me and I never get tired of watching it. The cinemascope photography is unbelievable, evolutionary and fantastic. The performances, the production design and the pacing – it’s kind of slow but it draws you into it and it makes you wish there could still be movies like that nowadays. I mean most movies these days are made for teenagers. It’s almost as if people’s brains work differently these days. Maybe its commercials and music videos and videogames and you just want more stimuli at a faster pace. Filmmakers seem to be afraid to trust the audience more. I don’t mean that movies should be slow and boring, but if you have a good enough script you should be able to use the power of the image to tell a story. It’s like if you look at Pixar movies like Wall-E, actually I do think they have a slower pace, there’s such richness in every frame."

"The Shining. I’m a huge horror fan, classic horror specifically, and there’s just something about them. Carrie, The Shining, Rosemary’s Baby. They’re horrifying, and they’re definitely frightening, but they’re also elegant, and they also show patience. And they’re also discreet in certain ways. When the horror comes, they’ve set it up so that there’s more of a payoff, because what’s come before has been executed in such a way that it doesn’t feel like… You know, you watch a horror movie that’s produced today, and they’re trying to scare you or freak you out, or they’ve got cats jumping out of the cupboards in the first five minutes. There’s no gradual build-up; it’s as though they don’t trust that the audience is going to hang in there and wait for the impact coming sixty or ninety minutes into the movie. They want to give it to you in the first ten minutes, which I think is kind of shoddy storytelling, and disrespectful to the audience."

"The Shining. I’m a huge horror fan, classic horror specifically, and there’s just something about them. Carrie, The Shining, Rosemary’s Baby. They’re horrifying, and they’re definitely frightening, but they’re also elegant, and they also show patience. And they’re also discreet in certain ways. When the horror comes, they’ve set it up so that there’s more of a payoff, because what’s come before has been executed in such a way that it doesn’t feel like… You know, you watch a horror movie that’s produced today, and they’re trying to scare you or freak you out, or they’ve got cats jumping out of the cupboards in the first five minutes. There’s no gradual build-up; it’s as though they don’t trust that the audience is going to hang in there and wait for the impact coming sixty or ninety minutes into the movie. They want to give it to you in the first ten minutes, which I think is kind of shoddy storytelling, and disrespectful to the audience."