"Oh I just love Fantasia. I played that for my nephew when he was two, and I don’t believe in popping children in front of the television as a babysitter, but I feel like, you know what? “I’m introducing you to classical music; I’m introducing you to classic cartoons, so watch it!” It’s a beautiful way to take music and to take your mind to a place of no words."

"The one [film] that made me want to be an actor is [Franco] Zeffirelli’s Romeo and Juliet. I went and saw it and, because there might have been some sex scenes, I had to sit in front of my mom, and any time those beautiful young people took off their clothes, I would feel her hand clamp down on my eyes [laughing]. But that’s when I went, “Yes, that!'"

"Louise Brooks defines screen presence. She is so mesmerizing, vulnerable, beautiful, and strong/silent that I had to seek out every one of her performances. There is no other like her, as there is no other Marcello Mastroianni. Diary of a Lost Girl may be even better. If you need to coax a friend to lose their dramatic silent film virginity, start with these . . . and then move to Greed."

"The most purely beautiful film I can think of and done up in a pristine transfer here; the fact that the film was shot at Shepperton Studios, in England, actually blows the mind. The acting is impeccable, and the fevered colors and close-ups are as close to a cinematic wet dream as I ever need to have. Powell and Pressburger in the throes of a most singular cinematic vision."

"And four… oh, this is tricky. I’m just trying to go through them in my head. It’s probably easier to pick 30 favorite movies as opposed to five. It might seem like an odd choice but I really loved it, the Tim Robbins movie Dead Man Walking. I just thought it was such beautiful, emotional, thoughtful filmmaking, and I’m surprised it hasn’t taken a bigger place in the western film canon."

"[Brackett] was my teacher. I imitated her, of course. She had those beautiful short stories in Planet Stories about John Stark, they were all Edgar Rice Burroughs par excellence. In other words, she could write better than Burroughs. She took the same sort of things he did: the fighting man of Mars, the gods of Mars, the Martian stories, but gave them that extra ambiance, style, and imagination."

"Reading this feels like going down a rapid, the way it flows. It’s so freed of expectations in a way that makes it very refreshing. It’s almost like jazz, full of nooks and crannies, sort of unpredictable but beautiful. There’s a fellow comedian, Jaqueline Novak, whose work I really like, and watching her perform a set I think, ‘Oh, she’s kind of the Clarice Lispector of the comedy scene.’"