"I went to see The Spirit of the Beehive at Film Forum on a whim only a few years ago, when it was rereleased, and it immediately became one of my favorite movies ever. It opens with a town full of kids, all yelling “The movie’s here! The movie’s here!” while running alongside a truck carrying a print of Frankenstein to the church where it will be screened. From there, you are swept right into the life and story of a thoroughly compelling little girl with beautiful brown eyes, a sister, a cat, a big house, a fair dose of anxiety, and a lot of free time in stressful post-civil-war Spain."

"One of my favorite films is the movie Tootsie. I really love Tootsie. I just watched it when I was a kid and for some reason, I just, I’m obsessed with that movie. I think I’ve watched it 100 times. It’s just so funny and fun, and I love it. It’s cool. I like that it’s sort of about women, you know? It’s sort of about how he finds the woman inside himself, so there’s sort of like this feminine aspect to it, and I just love Dustin Hoffman. He’s amazing. I don’t know, I just love that movie. It’s emotionally totally satisfying to me, and it sort of makes me feel good while being interesting and smart."

"Possibly my favorite of the many Cassavetes films I love. Why? Maybe because he found a way to depict the ruthlessness of the Hollywood system, and because of how Cosmo (Ben Gazzara) keeps smiling as he searches for a civil way out of his predicament. It’s very roughly made, which I find touching and refreshing, now that we all seem to fetishize high production values above all else. The cabaret scenes are authentically seedy, even a little pathetic, and are set in an LA that no longer exists. But there’s real tenderness between Cosmo and his black girlfriend and her mother. The story seems to meander in an alive, curious way, even as it drives to its terrible conclusion."

"Another favorite of mine was actually filmed during World War II—Brief Encounter. This one deals with love. And of course there are many kinds of love. One, I suppose, the best kind, I think, is to find someone to love who reciprocates your love. I'm really the marrying kind. And I love being married to Cindy, who, incidentally, happens to be a very fine filmmaker. But another kind of love is to love hopelessly, to love someone you can never have, the awful sweetness of longing for the unattainable, that strange and blissful frustration. Brief Encounter, so gorgeously acted, so lovingly directed, is the finest film ever depicting that kind of love. Both heartbreaking and romantic."

"I’m a very bad TV watcher, meaning I rarely watch more than one episode of any given show, and I usually don’t even make it that far. I downloaded all the episodes of this to watch on a flight and had I not been stuck on a plane and forced into finishing the series, I likely would’ve missed out on one of my favorite viewing experiences this year. The moment in the elevator when the two leads first meet overwhelmed me to the point of tears. It so perfectly summed up that feeling of realization you have when you meet your soul mate, romantic or otherwise: “I’m not alone in the world.”"

"Back in the day when Star Trak was taking over the music scene, everything they put out was so radical. All their beats were just insane. I remember first buying this and I thought I was buying a Neptunes album and it was something completely different, like live music. At first I was like, ‘This is so wack.’ After spinning it and spinning it, it soon became one of my favorite CDs. It’s a CD that I probably know the most lyrics to because I just listen to it so much. Pharrell is another dude who still sounds good no matter what he does. He’s for-real radical, he needs to keep grinding hard because we miss that guy.”"

"A young John Hurt plays a bitter art school drop-out who forms his own fascist political movement, the Party of Dynamic Erection. It’s very proto-Withnail & I, and it’s not lost on me that George Harrison was involved in producing both Little Malcolm and Withnail. So it’s cool to think that my favorite Beatle helped make the best two movies about crazy assholes in trench coats screaming at each other in shitty apartments. Mike Leigh directed the original production of the play of Little Malcolm and I can also see how the Scrawdyke character may have informed him in creating Johnny from Naked, another misogynistic, visionary crackpot trying to assert his manhood."

"My first film would be Braveheart. I love that film. I have Scots-Irish ancestry, and I was very intrigued with it. I’m actually a part of the Wallace clan on my grandmother’s side, so I was very intrigued with the portrayal of William Wallace, even though I’m not a direct descendant. The subject matter interested me, and I thought that Mel Gibson did an exceptional job. It’s my favorite film. It’s one of those films I can watch over and over and over again. It has comedy, there’s romance, love, passion, love of your country, the pursuit of freedom, and I just think he did an incredible job directing that film and also starring in it."

"I’m going to put The Apartment on there. Shirley MacLaine and Jack Lemmon. You know, Billy Wilder is just one of my favorite filmmakers ever. That movie is one that has grown with me. That’s another movie that I definitely saw as a child and have felt differently about as I’ve gotten older. Its really about two lonely people and it’s so sweet and so funny, and the score — I think it’s the Charles Williams orchestra that does the score on that. I’m not going to get that right, but the score is just so, so beautiful. I feel like I can just hear the refrain of that and cry. I think it’s really a perfect movie."

"The ultimate existential gangster film. Hypnotic, detailed, ritualistic, it has influenced
 films like John Woo’s The Killer and the more recent Drive. Alain Delon
 gives his most memorable performance as an ice-cold assassin above such mundane
 concerns as moral conscience. Though violent in its subject matter, Jean-Pierre
 Melville’s film is also cool, meticulously lit, and classically framed. It
 operates in a kind of dream state. It’s the opposite of the fevered emotional style of
 most gangster films. The pauses and silences help make it the visual equivalent of Harold
 Pinter’s dialogue. This is my favorite Melville film, and the extras are among 
Criterion’s finest, including an interview with John Woo and one with Melville himself."