"This one — they’re just kissing cousins, really — but the last Paul Newman film I’ll talk about is Hud — just the greatest introduction to a character maybe ever on screen. You’ve got this goofy kid walking around town and he walks past the bar, and there’s glass on the sidewalk and the bar owner’s sweeping it up. And the kid goes, “Did you have trouble in here last night?” “I had Hud in here last night.” Such an awesome way to introduce the main character of this film. When you first meet him, he’s walking out of this married woman’s house putting his boots on and the husband pulls up, and he immediately blames his nephew. It’s this really incredible thing. I was lucky enough to work on a college professor’s documentary called The Rough South of Larry Brown. Which is about the writer Larry Brown out of Oxford, Mississippi. In that documentary Larry Brown talks about his writing, he says, “Yeah, you read my stuff and you read a little bit and you might think it’s pretty funny. And then you read a little bit more and you realize, it’s not funny worth a damn.” And that’s Hud. You start it off and you’re like, “Gosh, look at this rapscallion, this character,” and then you realize, “Wow, that’s not funny; there is some deep stuff inside that man that is hurt and angry, but is manifesting itself in very evil ways.” The complexity of that — it’s different than Newman’s character in The Hustler. In The Hustler, he’s doing pride, but there’s something deep going on in Hud that’s darker. It’s more about family and legacy and things that I think, because it’s attached to the family, I relate to very much. I had to deal with familial relationships that are complex."

"Youthful optimism and sexuality are thwarted by the bitterness of a crumbling town in Peter Bogdanovich’s lovely film of Larry McMurtry’s novel. One can feel the influence of John Ford and Orson Welles in both the deep focus compositions and the unexpected bursts of volatility. For example: there’s a fantastic scene where an argument between Jeff Bridges and Timothy Bottoms escalates into a fistfight—the shots start to come faster and faster, almost every new shot from a different camera angle, culminating in a shocking moment of violence."

"Fellow physician Larry Dossey made a risky leap in 1985 by applying the new physics to medicine (the book’s foreword is by Tao of Physics-author Fritjof Capra). Mainstream medicine was still spooked and skeptical over the mind-body connection, and here was a doctor speculating on Bell’s Theorem and relativity, making connections between the quantum and the very basis of physiology. Seeing the human body burst into a cloud of subatomic particles thrilled me. No book has been more influential on my own writing career, and Dossey’s intellectual courage was an inspiration."