The Last Waltz

“I'm staring at The Last Waltz here. The feelings that Scorsese has about music, the love he has of it and how integral it is to his filmmaking, it's in here. People always forget he was the editor on Woodstock. But even his early movies, they all have that drive that the music gave to him. I've worked with a couple of similar filmmakers who use that as their superpower. Edgar Wright does the same thing. It's like without the music, it's just so perfectly tied.”

“Love this one. Australian, from Peter Weir, it's The Last Wave. I didn't see it for a long time because I'm embarrassed to say I thought it was a film about surfing. It's not a film about surfing, it's a film about the end of the world perhaps, and it's one of his most sort of mystical and spiritual films. An amazing Performance by David Gulpilil. Love it.”

“The Last Wave by the master Peter Weir. Peter Weir is a good friend of mine and we share a beach in Australia where I go and it's got David Gulpilil who was in my first film I produced Mad Dog. I'm looking forward to seeing this again. I remember all the water pouring out of the radio is magnificent shot.”

“Robbie Robertson, music and the musicians. The uniqueness of it all, I think, and Scorsese covers a lot cleaner the film is that.”

“I've got to bring out another Scorsese one, The Last Waltz. The thing that I love most is it does have talking heads and it does have all the band sort of speaking about why they've decided to call it a day, but really he just lets the music play. And that's the thing with Scorsese, I never ever feel like he gets in the way of the story he's about to tell. I feel everything he does as a director, which is why he's the greatest, is that he pulls the story out and honors it in the correct way.”