"For every lonely, mixed-up kid like I was, the great François Truffaut’s universal classic can still move and enthrall. Heartbreakingly sensitive without ever being sentimental. I believe Mr. Truffaut created the freeze-frame ending with this film, which has the effect of letting us consider what happens at turning points, and not just in Antoine’s life. And best puppet show ever in a movie."

"I love that movie. I worked with him [director François Truffaut], but I remember seeing that movie long before. I didn’t even know it was such a fantastic film for everybody. When I saw it for the first time I thought, “I’m actually looking through a window back to the 1920s Paris.” Everything I love about that era. I met Truffaut and I was with him for about six months on Close Encounters and I realized suddenly that he had done 400 Blows which is really the story of my life as a child. I wondered who would make a film like 400 Blows, why? And then I met him. I love that one."

"I love 400 Blows. [François] Truffaut is just a genius and, again, just there’s a total Cassavetian quality in his performances as well. I know that story was close to his own story, so that was very moving and just a totally immersive experience. I like him and a lot of the French filmmakers, obviously, for the exact reason we’re talking about. That last scene in 400 Blows where he escapes the children’s home in that really, really long tracking shot was just astonishing, just such an astonishing end to that film. That and when the kids steal a typewriter too, and they’re struggling with the weight of it; that was great. It’s just great, great fun."