"Walter Hill is a master who’s been copied by every Hollywood filmmaker since his first films and Ryan O’Neal turns in one of the coolest characters in The Driver. Bruce Dern plays a cocky cop who you can’t wait to see lose and Adjani plays a cool-as-a-cucumber damsel. Also check out Claude Lelouch’s C'était un rendez-vous, which acts like a weird French cousin to this film."

"I’ve never been very fond of Fellini—too baroque for me. But La dolce vita is an amazing film, summing up an era, a culture, a city; in its own way it is of historical importance. Maybe it is the great Italian film of that period, in the same way that The Mother and the Whore, by Jean Eustache, is the ultimate nouvelle vague film made ten years later, by someone who had been a marginal figure of the movement, and embodying a city, a time, a culture now all gone. My admiration for Jean-Pierre Melville has only been growing through the years. He is a minimalist, like Bresson, but not so much in the sense of emptying the frame—it’s more about getting rid of a lot of the visible to replace it with the invisible. I haven’t been filming a lot of gangsters, but I can understand his fascination for both outlaws and cops, for their world haunted by betrayal and death. In Army of Shadows, he adapts a semi-autobiographical novel by Joseph Kessel and makes the ultimate film of the French Resistance. Both Kessel and Melville had been involved with the Free French, and here cinema meets history. A great artist carried by historical circumstances transcends not just his own inspiration but the medium. Army of Shadows is not only one of the most important French films, it is also a national treasure."

"I’ve never been very fond of Fellini—too baroque for me. But La dolce vita is an amazing film, summing up an era, a culture, a city; in its own way it is of historical importance. Maybe it is the great Italian film of that period, in the same way that The Mother and the Whore, by Jean Eustache, is the ultimate nouvelle vague film made ten years later, by someone who had been a marginal figure of the movement, and embodying a city, a time, a culture now all gone. My admiration for Jean-Pierre Melville has only been growing through the years. He is a minimalist, like Bresson, but not so much in the sense of emptying the frame—it’s more about getting rid of a lot of the visible to replace it with the invisible. I haven’t been filming a lot of gangsters, but I can understand his fascination for both outlaws and cops, for their world haunted by betrayal and death. In Army of Shadows, he adapts a semi-autobiographical novel by Joseph Kessel and makes the ultimate film of the French Resistance. Both Kessel and Melville had been involved with the Free French, and here cinema meets history. A great artist carried by historical circumstances transcends not just his own inspiration but the medium. Army of Shadows is not only one of the most important French films, it is also a national treasure."

"My five favorite films would change from, you know, day to day, but if you want five of my favorite films, one would have to be The Rules of the Game, by Renoir. A fabulous upstairs-downstairs look at French society in a very particular period. It’s both unbelievably sad and tragic, and moving and funny. And a delightfully humanist film. In fact, a lot of my favorite films are like that."

"I would say Peau d’âne, by Jacques Demy, a French musical with Catherine Deneuve, because I fell in love with Catherine Deneuve. I was so impressed. I think that, because I watched her being a princess in that movie, that I wanted to be an actress. She was so amazing, and I love Jacques Demy movies. It’s like a real beautiful fairy tale and, I just watch that movie again and again."

"I actually prefer the French title, À ma soeur! (To my sister!). I think that some people see Catherine Breillat as a theoretical director, but I think of her as a humanistic one, and you get that from the title. The sister in the film is trying to fit into this family, and the way that Breillat looks at her is so beautiful. The girl is yearning for physical contact in such an intense way."

"In one of the most indelible scenes of the early French New Wave, Jeanne Moreau searches for her lover in rain-swept Paris streets, accompanied by the only film score that Miles Davis ever composed. Her iconic suit was designed by Chanel, as were her dresses in another 1958 Louis Malle classic, The Lovers. The actress and designer saw each other often, loving to share anecdotes and book recommendations in Chanel’s personal library."

"One of the most beautiful films ever made. It’s a French movie with almost no dialogue, and I remember watching it in school several times. The innocence and the imagination of the young protagonist are threatened by bullies and adults, but the relationship he forms with his balloon gives us marvelous insight into childhood. I love how the film explores universal themes that can be enjoyed by audiences of all ages and backgrounds."