"It’s known as the lost Scorsese movie. It’s a documentary he made about his friend Steven Prince, who worked in the music business in the ’70s – the height of their drug use. Marty, who was already a hot filmmaker then, is in it and talks 200 miles a second. The main character is fascinating, and so honest, snatched out of the Hollywood and music business and drug culture of that time. Steven Prince tells the story that Quentin Tarantino used for the needle in the chest in Pulp Fiction (1994); it had happened to him, he had put a magic marker on a girl’s chest and plunged an adrenaline needle into her heart."

"This is one of my favorite science fiction films ever. It feels like everything in Solaris is transcendent and so deep. It’s hypnotic. It has so many sequences that are unique and unforgettable, like the part where the characters float in the library or when the wife comes back to life and then breaks apart as if she were made of glass. And there’s the idea of this spaceship floating on top of a strange ocean that seems to have some form of consciousness. All of those ideas are so strange and beautiful. It’s remarkable that Tarkovsky was able to make a film this spiritual in the Communist era. I don’t know how he did it."

"Star Wars reminds me of my mother, who didn’t let me see color movies until I was 12. I was raised on Alexander Nevsky and Chaplin and all of these insane movies that would just put a 10-year-old to sleep quicker than a shack of sheep. But Star Wars was my first departure from that rule, and it just blew my mind. It was the first color film I saw, and it just knocked me out. I don’t think I ever forgave my mother after I saw that film. But also just the kind of iconoclastic myth retelling that combined with science fiction, which has always been huge to me."

"For most other filmmakers, making a movie as good as Mysterious Object at Noon would be a crowning achievement. Because it’s Apichatpong, the film is usually considered relatively minor, a promising start. That’s nuts. A portrait of the collective imagination of Thailand, the movie doesn’t just anticipate many of his long-term themes––memory, the boundaries between real and unreal, dislocation––it explores them deeply, intricately, and with a radical appetite for play and invention. Neither documentary nor fiction, and existing somewhere between the total control of his later features and the experimental spryness of his short films and gallery work, it’s a unique masterpiece by the best filmmaker in contemporary cinema."

"After Gone and Road Warrior is Pulp Fiction, which I consider a perfect movie. I consider it a pitch-perfect movie. I’ve gotten to the point now where I pray to not come across it while channel surfing because, if I see five frames of it, then I have to sit and watch the rest of it. I’m now up to something like 30 or 40 times I’ve seen it. I just love that movie and all its dimensions, its crazy story structure, Quentin’s just brilliant dialogue, and the kind of mix of style and atmosphere with these memorable, memorable characters. Pulp is definitely one [of my favorites], although anything Tarantino would be good with me."