"The Bank Dick doesn’t have much of a plot but is packed with great comic scenes, like a prewar sketch show. Before Jackie Gleason and John Belushi, there was W. C. Fields."

"Really for me, it’s Paul Newman in The Hustler. When I watched The Hustler, and it’s Jackie Gleason… You know, we know Jackie Gleason from The Honeymooners, but you have to know Jackie Gleason from The Hustler. When I watched that movie as an actor and as a lover of acting, again, those performances from those two men are standalone performances. My father is a big reason why, because I fell in love with acting very early on, and my dad introduced me to the actors that he grew up watching, and I had the opportunity, watching these films, to really get a master class in being an actor. Listen, I just turned 35 in March, and my goal is to become an actor capable of telling the type of stories that Paul Newman got to tell, and that Redford got to tell, and that Cary Grant and those guys got to tell. You know, you talk about the comedy and the mystery and the intrigue and the drama; these guys honed in on it all. And when I watched The Hustler, out of the long list of amazing performances that Paul Newman gives, to me, that movie just stands alone."

"And number five, I’m going to say Smokey and the Bandit. I’m back on the comedy. It’s between Smokey and the Bandit and OSS 117, which is a French movie — it’s sort of like their version of the Naked Gun movies, but their agent’s really good; he’s actually very good at many things. He just happens to be a complete moron. But he’s a lover, he knows many languages… Anyway, Smokey and the Bandit, Jackie Gleason’s performance and Sally Field’s; she was amazing. It’s also a good snapshot of America when being a truck driver was cool. [laughs] Being an 18-wheeler truck driver was like, “That’s a good job.” I mean, they were badasses, and you don’t really think of that now; they don’t have that same mystique. But Jackie Gleason as Buford T. Justice… He has his own f***ing entrance music; every time he shows up, they’ve got this tuba playing, he’s there on the scene, and he’s doing his schtick, doing the best stuff. He’s another character, like the Joe Gideon character in All That Jazz, who’s despicable. He’s a racist, he’s a terrible father, he’s a sh**y cop, and you just can’t wait for him to get back on the screen. He has a line in there, talking about Sally Field, who runs off, and she’s a dancer, and he says, “That’s what you get for poontangin’ around with a bunch of hippie show folk.” [laughs] That is the quality of stuff he’s doing in that movie; it’s just so brilliant."