"Another one of mine is Braveheart. I just loved the whole — I mean, I love anything that you can really feel. That was such a beautiful story, and the way it was filmed, and just the heart — it just grabs your attention and you can’t stop watching it. The tragedy in it. It’s epic. It’s one of those movies you can only dream about being in. I think I watched that movie before every fight. And I cry at the end of that movie. I must have seen it millions of times. I’m like that: I like to watch movies over and over and over, and so I’ve done that with Braveheart."

"Mizoguchi is a filmmaker I discovered pretty early. When I was younger, I watched anything Scorsese recommended, and I saw an interview with him where he referenced Ugetsu. I just fell in love with Mizoguchi’s work. He called the Academy ratio the “painterly ratio,” and I feel like there are very few filmmakers who did as much with that frame. Sansho the Bailiff is just one of the most devastating melodramas I’ve ever seen, and Ugetsu is a beautiful, ethereal ghost story. His films are quiet while also being extremely harsh and brutal. There’s a clinical, distant quality to his films, but there’s also this aching humanity at the heart of everything he did."

"Mizoguchi is a filmmaker I discovered pretty early. When I was younger, I watched anything Scorsese recommended, and I saw an interview with him where he referenced Ugetsu. I just fell in love with Mizoguchi’s work. He called the Academy ratio the “painterly ratio,” and I feel like there are very few filmmakers who did as much with that frame. Sansho the Bailiff is just one of the most devastating melodramas I’ve ever seen, and Ugetsu is a beautiful, ethereal ghost story. His films are quiet while also being extremely harsh and brutal. There’s a clinical, distant quality to his films, but there’s also this aching humanity at the heart of everything he did."

"Mizoguchi is a filmmaker I discovered pretty early. When I was younger, I watched anything Scorsese recommended, and I saw an interview with him where he referenced Ugetsu. I just fell in love with Mizoguchi’s work. He called the Academy ratio the “painterly ratio,” and I feel like there are very few filmmakers who did as much with that frame. Sansho the Bailiff is just one of the most devastating melodramas I’ve ever seen, and Ugetsu is a beautiful, ethereal ghost story. His films are quiet while also being extremely harsh and brutal. There’s a clinical, distant quality to his films, but there’s also this aching humanity at the heart of everything he did."

"I love Thomas Hardy. I don’t think a lot of people know that he was also a great poet and a writer of short stories because he produced so many novels. One of my favorite short stories—and I’m not a big short story fan—is An Imaginative Woman. It’s tragic. People are going to think I’m morbid, loving all these sad books. I actually don’t mind a happy ending in a novel—certainly, it’s nice when it happens. But when you’ve invested so much time and your fingers have pushed through all that paper and you get to the end…well, a tragic ending kind of goes with the tragedy of finishing a book."

"Heaven Knows What is such a disturbing story about unrequited love, heroin addiction, and suicidal tendencies that somehow evades being only completely weighed down by desperation. Even though the death-like weight of the all-out junkie life is detailed and harrowing, it’s also a really interestingly made film in the way it’s shot – it’s bleak, yet somehow a fascinating and important addition for me to recent American filmmaking. And the central character played by Arielle Holmes who also wrote the script and lived the life, and she plays a very riveting and detailed character. Coupled with a great performance from Caleb Landry Jones, who also, appears in our film, among several other actors. Did you see that one?"

"I had reservations about choosing this film because the women in it are somewhat victimized, but I hugely admire Melville’s work, and this is a new discovery. Le doulos is particularly terse and gloomy in black and white, stripped of any fat whatsoever. There’s a complicated plot that’s almost impossible (for me) to follow, but it all boils down to the question of who can be trusted. The men all pretty much dress alike and come to seem interchangeable. The violence is abrupt and shocking, and the story is full of reversals. Most of all, I love the ending, where Belmondo’s character forces us to reinterpret everything we’ve just seen in a new light."

"Possibly my favorite of the many Cassavetes films I love. Why? Maybe because he found a way to depict the ruthlessness of the Hollywood system, and because of how Cosmo (Ben Gazzara) keeps smiling as he searches for a civil way out of his predicament. It’s very roughly made, which I find touching and refreshing, now that we all seem to fetishize high production values above all else. The cabaret scenes are authentically seedy, even a little pathetic, and are set in an LA that no longer exists. But there’s real tenderness between Cosmo and his black girlfriend and her mother. The story seems to meander in an alive, curious way, even as it drives to its terrible conclusion."

"After Gone and Road Warrior is Pulp Fiction, which I consider a perfect movie. I consider it a pitch-perfect movie. I’ve gotten to the point now where I pray to not come across it while channel surfing because, if I see five frames of it, then I have to sit and watch the rest of it. I’m now up to something like 30 or 40 times I’ve seen it. I just love that movie and all its dimensions, its crazy story structure, Quentin’s just brilliant dialogue, and the kind of mix of style and atmosphere with these memorable, memorable characters. Pulp is definitely one [of my favorites], although anything Tarantino would be good with me."