"Now for a more contemporary movie. What a phenomenal third act. What a triumphant moment at the end. There’s so much build up — some movies just don’t pay off the way they should. The performances were beyond incredible, but to have that triumphant moment be as strong as it really was, you just don’t find it. And so simple too. The story didn’t have to be about explosions and car crashes to really hit as hard as it did. It didn’t need the Hollywood spin on it — not that that story could have ever been told with a Hollywood spin on it — but that this simple story about this relationship could have as big an impact as anything I’ve seen is incredible. JK Simmons is so good; he doesn’t have any tells, so you only get clues to where it’s going. But he’s so good at playing that asshole."

"I think it’s the scariest movie I’ve ever seen. It was supposedly shot in Hattenfield, IL and I lived in a small town in Illinois. I just found it just horrifying. I still, to this day, find it incredibly horrifying; the music gives me the chills. The actual street, though is here in Hollywood right by our Blockbuster. So I always look down there. “I don’t see Michael Myers…”"

"This mesmerizingly brilliant film noir was Orson Welles’ last Hollywood movie. Dumped into second feature playdates, it’s finally become more popular than Citizen Kane. It was recut and reshot by the studio but a longer preview version surfaced a few years ago and is preferable to the well-meaning but bogus “reconstruction” edit which seems to be the extant version. Both are available on the dvd box set."

"This is a movie to watch when you crave good old-fashioned Hollywood glamour. A young Mel Gibson practically sets the screen on fire with his flinty charisma, as a journalist in way over his head in 1960s Indonesia. With a revolutionary turn by the actress Linda Hunt as a male photographer, and Sigourney Weaver as a British correspondent toying with Gibson’s affections, this is a lustrously intelligent entertainment."

"David Lynch’s movie infuriated me when I first watched it in an empty theater during its initial run in October of 2001 in New York. But with each subsequent viewing it grows richer, more complex, and more mysterious. It surpasses Contempt as the most tragic, agonizing film about movies and Hollywood subsuming souls with promises impossible to keep. Naomi Watts as the actress who never made it has never been better."

"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 saw this for the first time at CalArts [and] since then I’ve become a big fan of all Preston Sturges films. Again, I [had] already chosen what I wanted to do for a living but [this] story touched me so deeply. Here’s a guy who makes comedies during the Depression and he’s so isolated in Hollywood [that] he sets out to learn what’s going on with people. He becomes a hobo. And he ends up way in the South and [is] put into this work prison. And everyone in Hollywood believes that he’s dead, that a hobo stole his coat and was killed by a train. And so he’s there and [he can’t] get word back that he’s still alive. It’s a horrible situation. For Christmas Eve, at the depth of his misery, a black church in the segregated South invites all the prisoners out. And they sit there and what they watch is a Pluto cartoon. It’s the famous scene of Pluto getting the flypaper stuck on him and he can’t get it off. And [the audience] starts howling with laughter. Howling with laughter. People who you wouldn’t think would still have laughter in their bodies. And Sullivan came out of this and gets back to Hollywood and everyone’s like, “Oh, you had this horrible situation, you must make a great drama.” And he goes, “No, I’m going to make a comedy. Because that’s what the world needs.”"

"Let’s do Preston Sturges and the greatest comedy of all. This film hasn’t aged a day from 1941 when it came out; it’s amazing — especially with Hollywood in mind. It’s the ultimate inside Hollywood movie. It’s about a guy searching for meaning in his art who’s had all this success in Hollywood… The human dynamics of it are very true to life. I mean, it’s a comedy and it’s all pitched at that point, but Preston Sturges was such the master of dialogue and delivery that the whole tone and pitch of it is totally unique. It’s amazingly contemporary. This character’s desires and the timeless subject of, say, art versus commerce is one of the best film depictions of that you could ever find — and in a very comedic way. He has a project that the studio doesn’t want him to make about homelessness — this is coming out of the Depression — and he’s a spoiled rich guy and he has a project he wants to make. Of course, the Coens made a film with that name, O Brother, Where Art Thou? That’s where that comes from. And it’s kind of a ridiculous desire to say something that has social significance and meaning about suffering and all that stuff, but he’s really kind of desperate to make a comedy. He ends up on a chain gang by a series of misadventures… So he really is suffering. It’s just a brilliant movie and surprisingly contemporary."