"I love that movie. I love the premise behind it. I love how we all thought that the father was insane, and then it pays off in the end. I don’t want to put spoilers in there for people who haven’t seen the movie. Great freakin’ movie.The bottom line is, any time you put Powers Boothe in a movie… This f—in’ guy, man. I just love Powers Boothe. I don’t care what you put him in. When he was on Deadwood, he killed it; Sin City, whatever. He was the best part of Sin City 2, if you ask me.Just the premise of God instructing this man, and do we really believe that this guy is talking to God? Is it true? Is this some form of abuse with these kids? They even did something from the Bible: “He gave his life so that his son could live,” type of thing. There’s so many levels to that freakin’ movie, man. And [Bill] Paxton did an excellent job. First time directing a movie. Oh, and the “God’s Hand” killer. I love that name, too."

"Two Days One Night, it’s perfectly directed. The way the Dardenne brothers frame her, making her kids’ bed before she goes and tries to overdose in the bathroom — it stays in that one shot. It’s this wide shot, handheld, which nobody does like the Dardenne brothers. I’ve tried to chase it; there’s nothing like it. There’s nothing like watching a scene unfold and becoming something you did not expect in the beginning of the shot. It’s like one shot can tell an entire three-course meal. Also, that movie is one of the few movies that made me uncontrollably sob at the end, because of her power, the sweetness of it. I can’t believe the sweetness; it made me so raw and vulnerable. It’s not just that it’s tragic. It’s such a small story, but I connect with it. I connect with needing people and needing for them to hear from you. I feel like getting heard at the end of the movie, or not getting heard, depending on how you look at it, is so unbelievably moving. Marion Cotillard is the god of our generation. Not a goddess, she’s god!"