"This is travel writing at its best. As a boy, Chatwin was fascinated by a dried-up piece of skin and hair, said to be from a brontosaurus brought back from Patagonia by a distant cousin and and kept in a glass-fronted cabinet in his grandmother’s dining room. Chatwin’s musings about the brontosaurus eventually led to a trek through Patagonia described in ninety-seven brief chapters filled with sharp observations and crystal-clear prose, gem-like entries in a brilliant diary. The narrative meanders, just as Chatwin did on his journey. Passages describing the stark landscape are juxtaposed with profiles of people encountered, nuggets of historical lore, and the details of rugged overland travel. Readers who insist on a traditional narrative thread might be disappointed, even put off. But for me, Chatwin evokes a serene curiosity that I find ingratiating."

"I would say The Big Lebowski, because I’ve always felt like John Goodman should have gotten an Oscar for his performance in that movie. He’s perfect and brilliant. And it’s so weird and so funny, and takes all these turns. And we got to meet Phillip Seymour Hoffman and be like, “Brandt? Who the f— is that guy? He’s hilarious.” So, thanks for that, Coen brothers. It’s so weird. It’s so hard to make a movie with such extreme characters and keep it tonally so grounded. I don’t feel like it’s ever over the top, but all the performances are over the top, but it’s just so perfectly directed. Plus it makes me laugh, always, even though I’ve seen it so many times. God, really, I just love it. I think there’s something in it for everyone."

"I can’t help myself. I think Mel Brooks pulled off a magic trick, which was to pull off a parody of a certain style of film, but also make it something absolutely new at the same time. I love The Producers because it has such great characters, but Young Frankenstein is a little broader and it has some of the most brilliant comic moments. It’s hammy without being overtly crass like Blazing Saddles was. Madeleine Kahn — God bless her — it’s one of the best comic performances that I know of. I go back to it and see something new that she’s added to it. Mel Brooks and she must have fed off each other’s madness to get that sort of performance. And Marty Feldman attacking her fox stole and chewing on it; I lose it every time when I see that."

"A vanguard film (again). 1957. A great love story. But mostly a work of overimpressive technical virtuosity. Breathtaking crane shots, hair-raising forest sequences (with a memorable rotating low-angle shot of trees dissolving into one another), an amazing and very swift traveling shot (captured from a tram in movement) in which the lead actress dives into a crowd, looking for the man she loves. We follow her, and once she is stopped by a fence, we tilt up fluidly, and end the scene with a great ensemble shot. Superb art direction, superb lighting, with curtains flying in the wind, hiding the face of the actress, partially lit with lightning flashes. A true work of art. Tatyana Samojlova, who won an award at Cannes for this role, is brilliant and touching, and delivers a rather minimalist performance for its time."

"This is just maddeningly brilliant. At once sweeping and epic, and yet searingly personal, thanks to the incredible work of Peter O’Toole. It’s such a long film, which I love, and yet there’s not a moment in it that seems like it’s played too long. Everything from the rich orchestral score, to the extraordinary photography of F.A Young, and David Lean at the peak of his powers make this a timeless film, and one that remains, sadly, as relevant today as when it was shot. It’s about political and financial power and about the subjugation of a people, the fight for freedom and the power of the individual to make a stand against the imperial. All the performances are fantastic, from Sir Alec Guinness to Omar Sharif and on. Again, this feels like a perfect piece of cinema to me."