"In his top ten, Jean-Pierre Gorin tells you about John Ford’s praise of Jean Renoir. I’ll try to top his story: One day, Mizoguchi was asked who his favorite filmmaker was. “Ozu,” he answered without hesitation. And the journalist asked him why. “Because what he does is much more difficult than what I do.” (Needless to say that those six Mizoguchis in the Criterion Collection are priceless and were among Ozu’s favorite films.)"

"I remember when this came out; I was at a restaurant celebrating someone’s birthday, and I walked by a table that was talking about Mike Leigh, I forget what film exactly. But I chimed in and said something hyperbolic. The table remarked that they all worked for Criterion. I joked that I’d thought about tattooing a line across my chest with “Criterion Collection” underneath it (the old iconic Criterion logo design). I then explained our proximity to Ray Carney and our love for Cassavetes. This was the first time I heard that a big box set was coming soon. Cassavetes is a god and a hero. My introduction to his work as a director was A Woman Under the Influence, which I bought a single version of for our mother, who is petrified of the DVD and will never watch it. Bookie, Opening Night, Faces, Shadows, and the later-added Love Streams are film school for a hundred bucks. We watch the master turn actors into people and vice versa, and hold the feeling above anything else. In the words of JC (not a coincidence) in regards to Opening Night, about Hollywood: “It’s about time it took art and said, ‘C’mon, baby! Show me something!’” (Dear Criterion, please absorb Husbands, Minnie and Moskowitz, and Gloria as well.)"

"I remember when this came out; I was at a restaurant celebrating someone’s birthday, and I walked by a table that was talking about Mike Leigh, I forget what film exactly. But I chimed in and said something hyperbolic. The table remarked that they all worked for Criterion. I joked that I’d thought about tattooing a line across my chest with “Criterion Collection” underneath it (the old iconic Criterion logo design). I then explained our proximity to Ray Carney and our love for Cassavetes. This was the first time I heard that a big box set was coming soon. Cassavetes is a god and a hero. My introduction to his work as a director was A Woman Under the Influence, which I bought a single version of for our mother, who is petrified of the DVD and will never watch it. Bookie, Opening Night, Faces, Shadows, and the later-added Love Streams are film school for a hundred bucks. We watch the master turn actors into people and vice versa, and hold the feeling above anything else. In the words of JC (not a coincidence) in regards to Opening Night, about Hollywood: “It’s about time it took art and said, ‘C’mon, baby! Show me something!’” (Dear Criterion, please absorb Husbands, Minnie and Moskowitz, and Gloria as well.)"

"I remember when this came out; I was at a restaurant celebrating someone’s birthday, and I walked by a table that was talking about Mike Leigh, I forget what film exactly. But I chimed in and said something hyperbolic. The table remarked that they all worked for Criterion. I joked that I’d thought about tattooing a line across my chest with “Criterion Collection” underneath it (the old iconic Criterion logo design). I then explained our proximity to Ray Carney and our love for Cassavetes. This was the first time I heard that a big box set was coming soon. Cassavetes is a god and a hero. My introduction to his work as a director was A Woman Under the Influence, which I bought a single version of for our mother, who is petrified of the DVD and will never watch it. Bookie, Opening Night, Faces, Shadows, and the later-added Love Streams are film school for a hundred bucks. We watch the master turn actors into people and vice versa, and hold the feeling above anything else. In the words of JC (not a coincidence) in regards to Opening Night, about Hollywood: “It’s about time it took art and said, ‘C’mon, baby! Show me something!’” (Dear Criterion, please absorb Husbands, Minnie and Moskowitz, and Gloria as well.)"

"I remember when this came out; I was at a restaurant celebrating someone’s birthday, and I walked by a table that was talking about Mike Leigh, I forget what film exactly. But I chimed in and said something hyperbolic. The table remarked that they all worked for Criterion. I joked that I’d thought about tattooing a line across my chest with “Criterion Collection” underneath it (the old iconic Criterion logo design). I then explained our proximity to Ray Carney and our love for Cassavetes. This was the first time I heard that a big box set was coming soon. Cassavetes is a god and a hero. My introduction to his work as a director was A Woman Under the Influence, which I bought a single version of for our mother, who is petrified of the DVD and will never watch it. Bookie, Opening Night, Faces, Shadows, and the later-added Love Streams are film school for a hundred bucks. We watch the master turn actors into people and vice versa, and hold the feeling above anything else. In the words of JC (not a coincidence) in regards to Opening Night, about Hollywood: “It’s about time it took art and said, ‘C’mon, baby! Show me something!’” (Dear Criterion, please absorb Husbands, Minnie and Moskowitz, and Gloria as well.)"

"I remember when this came out; I was at a restaurant celebrating someone’s birthday, and I walked by a table that was talking about Mike Leigh, I forget what film exactly. But I chimed in and said something hyperbolic. The table remarked that they all worked for Criterion. I joked that I’d thought about tattooing a line across my chest with “Criterion Collection” underneath it (the old iconic Criterion logo design). I then explained our proximity to Ray Carney and our love for Cassavetes. This was the first time I heard that a big box set was coming soon. Cassavetes is a god and a hero. My introduction to his work as a director was A Woman Under the Influence, which I bought a single version of for our mother, who is petrified of the DVD and will never watch it. Bookie, Opening Night, Faces, Shadows, and the later-added Love Streams are film school for a hundred bucks. We watch the master turn actors into people and vice versa, and hold the feeling above anything else. In the words of JC (not a coincidence) in regards to Opening Night, about Hollywood: “It’s about time it took art and said, ‘C’mon, baby! Show me something!’” (Dear Criterion, please absorb Husbands, Minnie and Moskowitz, and Gloria as well.)"

"Speaking of Un chien andalou, Buñuel has one of the most perfect careers in cinema, and was able to harness lunacy and despair with wit and economy. There are many Buñuel titles in the Criterion Collection, but I chose Belle de jour because it remains so beguiling. I was offered the chance to remake it about twenty years ago, but it seemed like such a futile exercise. Has anyone been more perfectly cast than Deneuve in this film?"