"I watched this movie because someone told me that Fassbinder made more than forty movies in fifteen years, and at the time I was having a quarter-life crisis revolving around the question of how to crack the nut of being prolific. So I watched it to figure that out, and it was transcendent but casually so. Then later someone told me that Fassbinder achieved his output by consuming lots of meth (or the sixties version of meth) and never sleeping and that he died at thirty-seven, so I decided being prolific wasn’t for me because I want to meet my grandkids and get foot massages."

"The first movie I ever saw in my life, interestingly enough, was The Gods Must Be Crazy. It was a South African movie. It’s ironic that years later, the next most commercially successful film from South Africa after The Gods Must Be Crazy is District 9. The effect was kind of an early imprint that South Africa belonged in motion pictures. Because there was nothing else for years, as I became an adult — or even a young man — I kind of realized it didn’t. Everything that South Africa made was terrible that I subsequently saw. Usually I was just ashamed of it. I was like, “Oh God, we make terrible television, we make terrible movies.” And even with Marius Weyers doing the South African accent — something that was uniquely South African and African could be commercial was just imprinted in my brain."

"No other filmmaker’s movies have reached me as directly and deeply as Fellini’s. I’m very familiar with the criticisms that have been leveled at Fellini’s work—and they hold no sway over me. There’s far too much to say about the films on my list, so here are a few random things I love. The White Sheik: Alberto Sordi’s hilarious faux suavity while trying to seduce a naive provincial woman. I vitelloni: Franco Fabrizi’s pathetic lothario, Leopoldo Trieste’s deluded would-be writer, Alberto Sordi’s sad, daydreaming freeloader—Fellini sees all of these aimless young men with great honesty and tenderness. Nights of Cabiria: the heartbreaking final scene, a woman stripped of all physical and spiritual worth yet somehow still able to find consolation in the very innocence and joy that have been denied her. 8½: I can’t think of another black-and-white movie that has so much white. The high-contrast cinematography is breathtaking. In one flashback to childhood, Guido is being bathed and cared for by various aunts. It’s a child’s experience of maternal love that cannot be re-created in adult life—as Fellini later illustrates with a twisted version of the same scene in Guido’s absurd harem fantasy. Fellini always claimed the movie was a comedy, and I tend to agree. Amarcord: Fellini revisits the same territory as I vitelloni but in his later, color-saturated, theatrical style. It is provincial life described by a highly unreliable narrator, where the mundane transforms into the magical. A few indelible images: lonesome boys waltzing to music from a nearby grand hotel, townspeople carting their old furniture to the square for a massive bonfire, the immense luxury liner Rex, Gradisca’s sad little wedding, the floating dandelion puffs that mark the return of spring . . ."

"No other filmmaker’s movies have reached me as directly and deeply as Fellini’s. I’m very familiar with the criticisms that have been leveled at Fellini’s work—and they hold no sway over me. There’s far too much to say about the films on my list, so here are a few random things I love. The White Sheik: Alberto Sordi’s hilarious faux suavity while trying to seduce a naive provincial woman. I vitelloni: Franco Fabrizi’s pathetic lothario, Leopoldo Trieste’s deluded would-be writer, Alberto Sordi’s sad, daydreaming freeloader—Fellini sees all of these aimless young men with great honesty and tenderness. Nights of Cabiria: the heartbreaking final scene, a woman stripped of all physical and spiritual worth yet somehow still able to find consolation in the very innocence and joy that have been denied her. 8½: I can’t think of another black-and-white movie that has so much white. The high-contrast cinematography is breathtaking. In one flashback to childhood, Guido is being bathed and cared for by various aunts. It’s a child’s experience of maternal love that cannot be re-created in adult life—as Fellini later illustrates with a twisted version of the same scene in Guido’s absurd harem fantasy. Fellini always claimed the movie was a comedy, and I tend to agree. Amarcord: Fellini revisits the same territory as I vitelloni but in his later, color-saturated, theatrical style. It is provincial life described by a highly unreliable narrator, where the mundane transforms into the magical. A few indelible images: lonesome boys waltzing to music from a nearby grand hotel, townspeople carting their old furniture to the square for a massive bonfire, the immense luxury liner Rex, Gradisca’s sad little wedding, the floating dandelion puffs that mark the return of spring . . ."

"No other filmmaker’s movies have reached me as directly and deeply as Fellini’s. I’m very familiar with the criticisms that have been leveled at Fellini’s work—and they hold no sway over me. There’s far too much to say about the films on my list, so here are a few random things I love. The White Sheik: Alberto Sordi’s hilarious faux suavity while trying to seduce a naive provincial woman. I vitelloni: Franco Fabrizi’s pathetic lothario, Leopoldo Trieste’s deluded would-be writer, Alberto Sordi’s sad, daydreaming freeloader—Fellini sees all of these aimless young men with great honesty and tenderness. Nights of Cabiria: the heartbreaking final scene, a woman stripped of all physical and spiritual worth yet somehow still able to find consolation in the very innocence and joy that have been denied her. 8½: I can’t think of another black-and-white movie that has so much white. The high-contrast cinematography is breathtaking. In one flashback to childhood, Guido is being bathed and cared for by various aunts. It’s a child’s experience of maternal love that cannot be re-created in adult life—as Fellini later illustrates with a twisted version of the same scene in Guido’s absurd harem fantasy. Fellini always claimed the movie was a comedy, and I tend to agree. Amarcord: Fellini revisits the same territory as I vitelloni but in his later, color-saturated, theatrical style. It is provincial life described by a highly unreliable narrator, where the mundane transforms into the magical. A few indelible images: lonesome boys waltzing to music from a nearby grand hotel, townspeople carting their old furniture to the square for a massive bonfire, the immense luxury liner Rex, Gradisca’s sad little wedding, the floating dandelion puffs that mark the return of spring . . ."

"No other filmmaker’s movies have reached me as directly and deeply as Fellini’s. I’m very familiar with the criticisms that have been leveled at Fellini’s work—and they hold no sway over me. There’s far too much to say about the films on my list, so here are a few random things I love. The White Sheik: Alberto Sordi’s hilarious faux suavity while trying to seduce a naive provincial woman. I vitelloni: Franco Fabrizi’s pathetic lothario, Leopoldo Trieste’s deluded would-be writer, Alberto Sordi’s sad, daydreaming freeloader—Fellini sees all of these aimless young men with great honesty and tenderness. Nights of Cabiria: the heartbreaking final scene, a woman stripped of all physical and spiritual worth yet somehow still able to find consolation in the very innocence and joy that have been denied her. 8½: I can’t think of another black-and-white movie that has so much white. The high-contrast cinematography is breathtaking. In one flashback to childhood, Guido is being bathed and cared for by various aunts. It’s a child’s experience of maternal love that cannot be re-created in adult life—as Fellini later illustrates with a twisted version of the same scene in Guido’s absurd harem fantasy. Fellini always claimed the movie was a comedy, and I tend to agree. Amarcord: Fellini revisits the same territory as I vitelloni but in his later, color-saturated, theatrical style. It is provincial life described by a highly unreliable narrator, where the mundane transforms into the magical. A few indelible images: lonesome boys waltzing to music from a nearby grand hotel, townspeople carting their old furniture to the square for a massive bonfire, the immense luxury liner Rex, Gradisca’s sad little wedding, the floating dandelion puffs that mark the return of spring . . ."

"No other filmmaker’s movies have reached me as directly and deeply as Fellini’s. I’m very familiar with the criticisms that have been leveled at Fellini’s work—and they hold no sway over me. There’s far too much to say about the films on my list, so here are a few random things I love. The White Sheik: Alberto Sordi’s hilarious faux suavity while trying to seduce a naive provincial woman. I vitelloni: Franco Fabrizi’s pathetic lothario, Leopoldo Trieste’s deluded would-be writer, Alberto Sordi’s sad, daydreaming freeloader—Fellini sees all of these aimless young men with great honesty and tenderness. Nights of Cabiria: the heartbreaking final scene, a woman stripped of all physical and spiritual worth yet somehow still able to find consolation in the very innocence and joy that have been denied her. 8½: I can’t think of another black-and-white movie that has so much white. The high-contrast cinematography is breathtaking. In one flashback to childhood, Guido is being bathed and cared for by various aunts. It’s a child’s experience of maternal love that cannot be re-created in adult life—as Fellini later illustrates with a twisted version of the same scene in Guido’s absurd harem fantasy. Fellini always claimed the movie was a comedy, and I tend to agree. Amarcord: Fellini revisits the same territory as I vitelloni but in his later, color-saturated, theatrical style. It is provincial life described by a highly unreliable narrator, where the mundane transforms into the magical. A few indelible images: lonesome boys waltzing to music from a nearby grand hotel, townspeople carting their old furniture to the square for a massive bonfire, the immense luxury liner Rex, Gradisca’s sad little wedding, the floating dandelion puffs that mark the return of spring . . ."