"And my third favorite is Steven Spielberg’s Close Encounters of the Third Kind. And I prefer the kind of dark cut — where the family is a little bit more “damned.” Richard Dreyfuss’ family — they’re a little bit more nagging, and it’s almost like they’re stepping on his dream and vision. They sort of become representative of a kind of bourgeois middle class America that doesn’t have any imagination and perhaps is even a little bit materialistic. It’s great. And in this one, I think it’s hinted that Dreyfuss and Melinda Dillon do get together. I just love it. I love Close Encounters –– it’s magical. "

"When La dolce vita first came out, I felt that it was the most visually stunning and provocative film I had ever seen. It remains a jaw-dropping high-wire act, constantly stunning us with its energy, its imagination, its movement, its surprises—in both story and imagery—its wit, the brilliance of its camerawork, costumes, and music, with an endless parade of memorable characters. It’s so rich and entertaining and exciting in its execution that we almost completely forget how terribly sad is the plight of its lead character. And if anyone cares to look, it is the Gospel according to Matthew turned upside down."

"Let’s start with the most modern one, I suppose. La Grande Bellezza [aka] The Great Beauty. Paolo Sorrentino‘s movie. There’s a million different reasons. I think it’s the elegance of Toni Servillo‘s character. I think he’s almost like Dante going through the three stages of Paradiso, Inferno, Purgatorio. I used to live in Rome, so it’s a beautiful imagination of what Rome is. It’s the furious bacchanal element of the night life. The overzealous, religious conservatism of the daytime. It’s so beautifully done, and it’s elegant and dangerous. It’s intellectual. And buffoonish in all in the same breath. It’s an incredible movie. He’s a wonderful director."