"Do I get pretentious? Because this is foreign. {laughs] I love that German film from a few years ago that won the Oscar, The Lives of Others. Such a great movie. I’ve seen it a bunch, and I own it. I love, love, love that movie, and I found that it was just intensely riveting and scary and beautiful and so well crafted, so well plotted as a movie. And such a sad comment on a time in a certain country, but also a really beautiful comment on people being altered and finding their humanity again. I thought that movie was really special."

"I purchased this around the time that I decided I needed to own as many Criterion titles as possible. Also may hold my personal record for shortest time between first seeing a film and spending thirty dollars to own it. I just loved this film and was always rewatching it. Jarmusch was fairly major for me in my early discovery of truly lo-fi independent cinema, and I often found myself returning to his earlier films to study just how simple a film can be and still seem wildly innovative and truly, idiosyncratically the director’s own."

"To be found in the When Horror Came to Shochiku set from Eclipse, Horishi Matsuno’s engagingly demented Japanese picture jumbles gruesome crime, supernatural vengeance, psychic twins, mad science, and strange sea story—it may never settle on a tone, but its unpredictability is compelling. Haunted by her twin sister, who was murdered during a pirate attack, Saeko is mentored by a priest whose cool sunglasses conceal an evil secret identity and scars. Other pirate victims appear as living skeletons who inhabit a wreck and bring about the deaths of their murderers, and there’s also a mad scientist with vampire tendencies in the mix."

"Godfather one and two, as one movie — but not blended together; I don’t think that worked when they tried to combine them [for the TV version]. I have to just say that The Godfather is a quintessential American film, where it’s absolutely satisfying. The writing is so excellent — what is being said, and the nuance of what is being said, is so understood. And the color, again, situates you in a particular moment in time. It’s a portrait of America. It’s one of those things where storytelling and acting found one of those magical, elegant solutions…"

"I could never write the way Colette did. I’ve never found anything to match her descriptive passages, ever. She was a very sensual writer, and way beyond her time. Chéri is a love story between a very spoiled young man and his mistress who has “been there, done that.” He’s self-centered and vicious, and she ultimately turns out to be very noble. The final scene is incredibly moving; it makes me cry. I absolutely bow to Colette, but I think if she could hear me, she would probably tell me where to get lost, because she was that kind of woman."