"I heard a smart person say once that short stories were the ideal form to receive and integrate information. Whether it’s completely true or not, the idea has stayed with me, and if you were trying to argue the point, “I Knew You’d Be Lovely,” could be held up as Exhibit A. Emotionally, no work(s) of fiction ever moved me more thoroughly."

"The Exorcist, because it frightened the s— out of me. I remember going to see it in London – I went with a friend – and I said, “Well, that wasn’t too bad after all, was it?” And we both said, “Well, I don’t want to go home quite yet.” So we went out for a meal. That is an incredible movie."

"I was moved by the probing philosophical questions this film asks, as well as by the fact that Schrader, now in his early 70’s, has made his most complete and satisfying film as a director. Myself, I hope to grow older and continue to make challenging, confrontational work. I tip my hat to Schrader for this formally disciplined and sometimes despairing film."

"I mean, it’s like a massive, big epic, that is all from Richard Harris, Morgan Freeman, and Clint Eastwood. And that ending is incredible, and it starts with Gene Hackman going, “Death’s got nothing to do with it.” It’s just brilliant. “Fat man, get out of the way.” “Who owns this s–t hole?” I mean, it’s wonderful. And highly quotable."

"Moss Hart’s memoir of his early years (he died too young to produce Act Two) remains the gold standard among books about the American theater. Fully half of it is about his collaboration with George S. Kaufman on “Once in a Lifetime,” Hart’s breakthrough success. It is the best description of the creative process of theater that I’ve ever read."

"Midnight Express is so… That and A Woman under the Influence were the first two movies I ever watched and went, “That is not a movie.” You do not see anyone going, “Cut! I’ll be in my f***ing trailer!” You watch that s*** and you are like, you are in that. So Midnight Express; that is really great filmmaking."