"It’s in my top five list of best films ever made. I just think it’s perfect. It’s an amazing portrait of an artist, an amazing portrait of a family, Crumb is an incredible central character. I feel like whenever I watch that movie — I sort of watch it every couple years — I start talking like him afterwards. I mean he really infects me in a way that totally changes the way that I look at the world. All great artists have that sort of ability. When I read some of my favorite novelists after I put down one of their books, I’m thinking in their words. I’m seeing the world through their eyes and it’s the same with Crumb. I’m a big fan of his comics, but that film does such an amazing job putting you kind of in his headspace. It also looks amazing, it’s shot on film, Zwigoff does an incredible job framing Crumb’s world, and the Jazz music. it’s just great, I just think it’s great. I think the movie’s a pleasure to watch. I mean, his brother Charles is f—ing incredible, man. Like, the idea that this family produced not one great artist, three great artists. And that Crumb was actually the one who was political enough and sophisticated enough and just barely enough of a people person that his art got seen. But, you know, Charles and Matt also were like really pushing the boundaries of the stuff and also hugely influential on Crumb’s stuff. You don’t get Robert without Charles. You just never sort of have access to those stories the way that this documentary has access to that family. It’s a lot to think about, the artwork that we end up getting as a culture, you know, often times is less about what’s better, and more about how savvy the artist is and how able they are to kind of be in the right place at the right time so that there’s an audience for the work."

"The next one is The American President. I’ve been talking a lot about romantic comedies lately because of Sleeping with Other People, and you know, I’m listing all my favorite rom-coms, and you’re talking about When Harry Met Sally, Sleepless in Seattle, and things like that, that could just as easily be on this list for me; I watch those movies all the time and love them. But I realized it took me a second to realize that The American President is a romantic comedy, because it has a political angle, and it’s got that [Aaron] Sorkin dialogue. But it’s directed by Rob Reiner, and ultimately it’s just a full-on love story between these two people that also has snappy banter and comedic scenes. I think Annette Bening gives one of the best comedic performances of her career; she’s so specific. There’s a scene where, it’s like before her first date with the president, played by Michael Douglas, and she’s sitting in the office and she’s tapping her pen on the desk. The guy says to her, “What’s up? You got a hot date tonight?” and then she does this move where she goes to put the pen in a jar, and the whole jar falls over. There was something so effortless and so specific about that to me; it’s a moment that jumps out at me, in terms of making the work you’re doing funny, but still feeling in the moment. I don’t know how many times she shot that scene, but it looks so natural. When I watch it, I find it hard to believe that it wasn’t really an accident that she knocked over that jar, and that’s incredible. I love that movie, and I love Annette Bening. And her hair. And her shoulders, her shoulder muscles when she’s dancing with the president in that blue dress. These are all things I aspire to."

"Outside of 2001: A Space Odyssey, these are my favorite Kubrick films. The Killing is a tense and lean noir starring the great Sterling Hayden and a cast of character actors (Marie Windsor, Elisha Cook Jr., Jay C. Flippen, Timothy Carey, et al.), each of whom possesses his or her own special brand of menace and pathos. The film’s dialogue is by the best crime writer who ever lived, Jim Thompson (who worked with Kubrick and Calder Willingham on Paths of Glory as well), and it’s the music in Kubrick’s nonlinear racetrack heist caper, which I think is the best noir ever made. Hayden is one of the most curious creatures to ever grace the screen. I can never take my eyes off him, and as gruff as he is, I always feel for him. The tragic, cosmic joke at the end of this movie will break your heart—even when you’re wondering why you wanted this bum to get away with the crime. Johnny Clay is the ultimate “beautiful loser.” Paths of Glory is, in my humble opinion, the finest war film ever made. While not concerned primarily with combat and focusing instead on its multilayered consequences, the drama is as explosive as any battlefield action you’ll ever see. It lays bare the blatant hypocrisy of the powers that be, who never get their hands dirty but put innocent and well-intentioned men in the trenches to fight their battles for them. Kubrick takes us through the trenches with dazzling tracking shots that show us the weathered faces of the men who fought the Great War, some of whom will later be brought to trial and executed for “cowardice” after not being able to pull off an impossible mission. Kirk Douglas has never been better. And if the final scene in the battered cabaret, featuring Kubrick’s future wife, Christiane, singing a German folk song, doesn’t destroy you completely, you are probably some hideous sun demon."