"I think they’re all fairly artful pieces of work, but I think my all-time favorite is Charlie Chaplin’s City Lights, which was one of the… well, it’s like now, somebody still making a film in 2D, three years later: he still made it as a silent film [after the advent of sound], with inter-titling, and it had a recorded score. It’s one of those films that I’ve shown to many, various groups of people socially. I remember going to a DVD night in Silverlake, with a lot of very groovy LA people, and we all had to bring a film. And they were bringing along, you know, Sin City and stuff, and I did a pitch on that film, without saying it was a Charlie Chaplin film — saying it’s about an alcoholic and this young, impoverished guy, and they’re best friends when the guy is drunk and then when he sobers up he doesn’t know who he is; and the young guy is wanting to help this girl who sells flowers on the street, and she’s blind. And they were all going, “Oh my God, this sounds amazing,” and then I said it’s in black and white and it’s silent and it’s a Charlie Chaplin film — and they all watched it and were just entranced; and this is sort of like the Tarantino crowd. I’ve always loved that film."

"Rififi is a strange animal, based on a novel by a typically French crime writer, Auguste Le Breton, and shot in Paris as the first foreign-language film by a great American filmmaker at the height of his powers, whose career had been broken by McCarthyism. Jules Dassin’s previous film, made in London five years earlier, Night and the City, is his masterpiece. This inspired hybrid of French and American noir—which I discovered as a child on French TV—has constantly impressed me with its violence, its despair, its darkness, and its beauty. It has also been hugely influential, not only on Melville—so much of his work derives from Rififi—but also on a lot of minor figures of French genre. Dassin reinvented the whole syntax, and the after-effects have been felt for a long time. I am a fan of Michael Mann; he is one of the most inspired stylists in American cinema today, but it was all there from the start. In Thief, his first feature, you have echoes of Melville (it goes full circle), a sharp eye for realism, but also profound human characters with precisely drawn relationships, and great acting. Mann’s fascination with a geometrical modernity, even if it is always mediated by genre filmmaking, is genuinely reminiscent of Antonioni—explicitly so in the last scenes of Heat."

"Rififi is a strange animal, based on a novel by a typically French crime writer, Auguste Le Breton, and shot in Paris as the first foreign-language film by a great American filmmaker at the height of his powers, whose career had been broken by McCarthyism. Jules Dassin’s previous film, made in London five years earlier, Night and the City, is his masterpiece. This inspired hybrid of French and American noir—which I discovered as a child on French TV—has constantly impressed me with its violence, its despair, its darkness, and its beauty. It has also been hugely influential, not only on Melville—so much of his work derives from Rififi—but also on a lot of minor figures of French genre. Dassin reinvented the whole syntax, and the after-effects have been felt for a long time. I am a fan of Michael Mann; he is one of the most inspired stylists in American cinema today, but it was all there from the start. In Thief, his first feature, you have echoes of Melville (it goes full circle), a sharp eye for realism, but also profound human characters with precisely drawn relationships, and great acting. Mann’s fascination with a geometrical modernity, even if it is always mediated by genre filmmaking, is genuinely reminiscent of Antonioni—explicitly so in the last scenes of Heat."