"It would probably be a Woody Allen movie, and I don’t know whether it would be Manhattan, or Annie Hall, or Broadway Danny Rose. Those are my three favorites, but it’s kind of hard to pick a favorite among those. I don’t know. It’s hard. I mean, they’re all three so good. I don’t know. Maybe Annie Hall is my favorite. It’s one of the most lauded certainly. But then you’ve got Manhattan, and the romance of New York City, and you have that obviously in Annie Hall, to a certain extent. Broadway Danny Rose is less often mentioned, I find, but still really amazing with him (Allen) and Mia Farrow. He’s such a character, and Broadway Danny Rose represents all these, you know, sort of loser acts in a way. But it’s such a sweetness to it that I love, and it’s just like all of his – I like all of those movies certainly. So well shot, in beautiful black and white. "

"It’s hard to believe a movie like this was once considered not only culturally impactful but mainstream. If The Last Picture Show could even get made today, I’m sure it would make a hundred dollars at art houses in New York and Los Angeles before going to Netflix in a month. I grew up in a small town in Oklahoma, not far from the setting of The Last Picture Show. Though I lived there in the seventies and early eighties and not the early fifties . . . though my town was in color and not black-and-white . . . Bogdanovich and Larry McMurtry evoke the way life felt for me. I knew some Sam the Lions, was closely related to some of them. As the movie suggests, they are now extinct. Every element of this film succeeds, and yet it is bigger than the sum of its parts. A profound film about the vanishing of character in America."

"Jim Jarmusch film. So wonderfully done in black and white. John Lurie stars and does the music. It’s weird because there are no close ups in the film, it’s an objective viewing experience, and yet it’s subjective in the way that Jarmusch points you. You’re given anything to look at, but you’re always looking at the right things. And the idea that it began as a short, just called The New World, but they raised money to make the other two or three acts, is really interesting to me. Great performances, a lot of humor, really slow pace. These were things I wasn’t really used to — the European pace, even though I love The 400 Blows, it was a revelation at the time in 1984. And I saw it when it came out in Austin, and just I think it opened up a new world of storytelling and filmmaking to me on some level."