"So I have to think of one more? Okay, I’ll say that on the plane coming here I saw The Reader and I thought that was an amazing film, a very affecting film dealing with an almost overfamiliar subject but in an almost novel and emotional way. That’s my current favorite movie."

"Before the Rain is one of my favorite movies of recent years. I think, in a very interesting way, there is a lot of spiritual thought hidden in the movie. When I saw it, the structure of the movie was very new, how it works with time. In my opinion, “time” will be one of the big topics in the future of telling stories, and how we approach it narratively will change in the next twenty to thirty years."

"Chaplin’s great satire on the American fantasy of infinite progress. For a movie about the plight of the dispossessed, it is overflowing with hilarity. Perhaps my favorite visual gag in any movie: a flag falls off the back of a passing truck. Chaplin picks it up and waves it exuberantly at the driver—just as a mob of protest marchers come up the street behind him, causing the police to mistake the Little Tramp for a radical leader."

"When I was a kid I saw My Name Is Joe in the theater. I’d never seen anybody act like Peter Mullan before and I’d never seen a movie like that, period. Watching Mullan in that movie I was just like, how do you do that? How do you get actors to do that? After that I watched every Ken Loach movie I could. Kes is one of my favorite movies ever. The plot of We the Animals is very smiliar to Kes; we follow the same formula. In fact, the entire last third of our movie is completely ripped off from the end of Kes and follows almost beat by beat the storytelling of that film."

"I’ve seen this movie more times than I can count. I think it’s the best movie about being a kid ever made. It’s a fairy tale and a nightmare and a totally believable portrayal of a Swedish family in Uppsala at the turn of the twentieth century, all at the same time. It has always reminded me of one of my favorite novels, Thomas Mann’s Buddenbrooks. It’s also a movie about the weird magic of theater . . . Both the opening sequence and the reading from Strindberg at the end kill me. And the way Bergman shoots inanimate objects . . . The statues and the toy angels and the clocks and the puppets and the lamps . . . They’re all watching Alexander, the whole movie."