The Colour of Pomegranates (1969)

Sergei Parajanov weaves an incredible tapestry of philosophical and beautiful imagery through meticulous sets and slow editing. This film often sits with me as a poetic inspiration for pacing music. I first saw this film right after high school and barely understood its depth, but through my life, it's come to reveal more and more. Especially when looking into the life of the director and finding out all of the adversities he had to overcome to make this in Soviet Russia as an Armenian. Parajanov’s work also led me to think about music as a colour palette and how to use space and slow movements to convey depth.

Halloween III (1982)

Halloween III is the most underrated of all of John Carpenter’s movies. There is something very satisfying about the everyday man and woman battling reptiles from outer space trying to take over the world through the use of a hypnotic killer pumpkin mask. The soundtrack is perhaps one of the biggest influences on me with its use of synthesizers and cold application in the movie. A particular highlight is the Vangelis piss-take title 'Chariots of Pumpkins'. Truly one of John Carpenter’s best and never lost its political relevance, even today.

Ravenous (1999)

Antonia Bird’s directing in this film is stunning. I have always had a fascination with horror films during or shortly after the Civil War. I often think about the expression of the ghost of America’s cruel past and the wild nature seeking its revenge. This movie makes me feel completely manic and calm at the same time. Watching each of the characters reveal and de-evolve throughout the movie is a stunning ride. The soundtrack by Michael Nymon and Damon Albarn has a surprising at times, creepy Americana minimalism that’s been a big influence on me.

Planet of the Apes (1968)

There’s so many things to say about Planet of the Apes. I think Jerry Goldsmith’s soundtrack is one of the great modern compositions of the 20th century. It stands up there with Messiaen and Ligeti. Taken out of context, the music is stunning and I could listen to it over and over. I have a soft spot for this era of Charlton Heston movies. In part because of the irony of what he became in real life in relation to the cold warning of these films and the effect of war and technology on humanity. The sets and directing, and albeit a questionable budget, are completely engrossing. The famous shot of The State of Liberty half submerged has always been a prophetic vision fo things to come.

Goopy Gyne Bagha Byne (1968)

Satyajit Ray is one of my filmmakers. Although this is not my favorite of his films, it does contain music composed by Ray that I find utterly compelling - an electro-acoustic ghost dance he based on a south Indian classical form the one heard in Delhi. He specifically avoided melody to portray different classes of ghosts and hierarchy. The visual filmmaking at the time this was made was revolutionary in this scene in particular. The combination of the ghosts dancing, the experimental film techniques and the truly bizarre music are unsettling and gorgeous. The film itself is also a wonderful comedy and social commentary on many things Ray experienced in a post-British colonial India.