"I love all of Stanley Donen’s movies and I wanna put one of them in there. I’ll put Two for the Road, which I love. Audrey Hepburn, Stanley Donen’s movie. Those would be my five. Today. [Laughs] Tomorrow I’m gonna pick Claude Lelouch — And Now My Love. I don’t know if you’ve ever seen that. It is amazing. It’s with an actress named Marthe Keller who made Bobby Deerfield with Al Pacino. And Now My Love is the story of two people who never meet until the end of the movie, and the protagonist is a kid who is a thief and gets sent to jail and learns how to use the camera in jail — and goes from making porno movies to making, you know, great movies, like Truffaut and Godard and Lelouch and the French new Wave. It’s really the best love story, and he’s an unsung hero of cinema, Claude Lelouch. Actually, that would be tied for Two for the Road — that way I get a sixth choice, and I’m greedy. [Laughs] Tie it. That’s a tie."

"After film school, I moved to Chicago. The first thing I did when I arrived in town was get a membership at Facets, the legendary video store and cinematheque. My membership allowed me to see everything that showed at the cinema. About two years later, when they put on a Pialat retrospective, I took full advantage of the membership. I had already made a few small relationship movies, and the descriptions of the films seemed right up my alley. As with most of my favorite films, I had a negative initial reaction to a lot of what I saw. The characters were abrasive, and all seemed to be stuck in never-ending destructive cycles. There were unexplained jumps in time, and I often felt disoriented. I came away from the series with a mixed reaction. Now, years later, it’s easy for me to recognize the impact the films had on me because I can see it in my work. No other filmmaker has had such a direct and visible influence on me, and I didn’t even realize it as it was happening."

"I really was trying to avoid Citizen Kane, but I would say Kane and the first fourth, the first half of The Magnificent Ambersons, for, you know, reasons that are obvious. I mean, it’s all miserably compromised after the first half — actually after the first third, I think — but I think the first twenty, twenty-five minutes of Ambersons is in many ways richer than anything in Kane, and that really is saying something. It struck a tone in American moviemaking; it was just absolutely new to me as a kid when I first saw that. I had never seen that kind of lightly ironic, very bittersweet, but achingly nostalgic… It’s just great, it’s just great. It’s also got probably one of my single favorite shots in cinema, that silhouette combined with the two couples after the ball. It’s the most incredible moment, and you just can’t believe you’re seeing it, and it lasts only as long as it could humanly last, and then it’s over. It’s great."

"You know, I’m gonna put this one in because it is actually one of my favorite films of all time, although technically it’s probably not a con man movie. The Man Who Would Be King. I did a Festival of Fakery. I did a little mini film festival which I kind of curated at the New Beverly Cinema in Los Angeles, and this was one of the movies that I showed. It’s about these two characters who do kind of go to pull off this con of pretending to be, you know, one of them pretends to be a god so that they can rule this small territory, basically. But as I watched it, it does actually, I don’t know, to me it does kind of play like a con man movie and also has the essential buddy relationship. The two rascals, I guess, standing back to back and fooling the world, which is reflected also in another one of the films in my list. This particular dynamic is probably my favorite."

"Jules Dassin’s gangster film about a robbery and its consequences is a French classic, noir before the word was in use to describe a certain kind of filmmaking. A word is in order here: I was educated in Switzerland, in an era when French-speaking people expected to see French films, so when we were allowed to go to the local cinema at Rolle or Gstaad, we mostly saw French films. British films, except for The Third Man, which is very “European” in tone, seldom played; still less big Hollywood ones. Rififi was a stunner, and an eye-opener, teaching us that French gangsters were a lot more interesting and attractive than our own mobsters, but just as tough, if not tougher. “Julie” Dassin was an American who moved to France, but he captured a whole, pungent slice of French life, and for months everyone at my school (le Rosey) went around trying to sound like Jean Servais, and to talk with a cigarette glued to their lips. Whole scenes from it still play in my fantasies."

"The years right after the war were a very special time in cinema, all around the world. Millions were slaughtered, entire cities were leveled, humanity’s faith in itself was shaken. The greatest filmmakers were moved to create meditations on existence, on the miracle of life itself. They didn’t look away from harshness and violence—quite the contrary. Rather, they dealt with them directly and then looked beyond, from a greater and more benign distance. I’m thinking of Rossellini’s The Flowers of St. Francis and Europa ’51, the great neorealist films by Visconti and De Sica, Mizoguchi’s Ugetsu and Sansho the Bailiff, Kurosawa’s Ikiru and Seven Samurai, Wyler’s The Best Years of Our Lives, Ford’s My Darling Clementine and Wagon Master, and this remarkable picture. This was Jean Renoir’s first picture after his American period, his first in color, and he used Rumer Godden’s autobiographical novel to create a film that is, really, about life, a film without a real story that is all about the rhythm of existence, the cycles of birth and death and regeneration, and the transitory beauty of the world."