"Gregory Nava’s film was shown at a Friday school assembly at the private Quaker school I attended from kindergarten to twelfth grade. It was International Day or some special Friday event, and we had the whole morning blocked off. I remember being floored by the rough-hewn portrayal of migrants who were my age, crawling through sewer tunnels as if they were in a Victor Hugo novel. In my twenties, I would go on to chronicle the journeys of Latin American and Caribbean migrants who crossed into the United States without documents. I would ride in the backs of trucks with them, interview them at U.S. Border Patrol processing stations, track their families, who had paid coyotes thousands of dollars. As a thirtysomething mother living in Houston, our Guatemalan babysitter borrowed $1,800 because her son was being held in a safe house in Northern Mexico. After his release, he was picked up by Border Patrol and held at a processing center in Houston. An editorial friend of mine from the Houston Chronicle visited him there and wrote about his journey. He was eventually released and was reunited with his mother. The impact of this movie cannot be understated. I was lucky enough to meet Gregory when I was a Los Angeles Times reporter covering the lack of diversity in Hollywood, and I remain a fan of his work."

"#1 for sure is Blade Runner. I’ve been a big sci-fi geek since I was a little kid, and it was just done so well. It felt like that’s what Los Angeles was going to look like in the future, and you felt Harrison Ford’s turmoil as a blade runner. Everything about it was so real, and so cool, and everyone that was cast in it was so good in their roles, and so attractive. Even though the future looked spooky, it was also mesmerizing. Sean Young… Who knew she was so crazy? She was so great in that movie. And then when she finds out she’s a replicant, it’s so heartbreaking. I could watch that movie a hundred times and I don’t even care which version I see; I’m fine with the narration, I’m fine without the narration. It’s just a great movie. When you’ve seen it so many times, I guess it doesn’t matter. Like, it’s impossible for me to go back in time and see it for the first time without narration and see if it would have made it confusing or not, which, I guess, was the studio’s worry, that people wouldn’t be able to follow the storyline. But, you know, I’ll never know. [laughs] All I know is it’s the best science fiction movie ever made."

"Criterion has so much Ozu. Ten to fifteen years ago, I hunted through Japanese markets in L.A. and San Francisco for DVDs of otherwise unavailable Ozu. Because Ozu movies settle my mind. At one point in the late 1980s I was in Los Angeles for an extended period of time. I got in the habit of renting movies from Tower Video on Sunset. The two gold mines I remember best were the Humphrey Bogart Santana productions and the Wim Wenders movies, including Tokyo-ga. I watched Tokyo-ga through a filter of loving Wenders; otherwise, its content was pretty mystifying. A year or two later someone showed me Tokyo Story, and I wished Ozu was my mother. So generous and gentle. Patiently ignoring the 180-degree line (which bugs the fuck out of me in production). Of course, I don’t know Yasujiro Ozu; still, I love the man who gave these movies to us. And what lessons! The pairing of I Was Born, But . . . and Good Morning. He didn’t know he was doing it, because at the time he made Good Morning, I imagine that I Was Born, But . . . was ancient history. Now the two movies are equally present, and they stand alone and together. I choose the Floating Weeds movies, as among the genre of movies about us performing artists those movies reign."