"My favorite Fellini movie changes as I age. At various times in my life, I might have cited 8½, The White Sheik, Amarcord, even Casanova or City of Women. The movies don’t change, of course. The viewer changes. And now La dolce vita speaks to me in its sweep and totality. As a younger man, I probably only responded to the higher-energy scenes, the orgy, the press corps, Ekberg. But now, at fifty-two, I’m flooded with sadness by the visit from Marcello’s father, and the Steiner storyline and the final moments provoke existential dread. The title used to seem like a winking joke to me. Now it feels more like a punch in the stomach. La dolce vita is forever."

"Woody Allen — namely the Diane Keaton collaborative days — those movies were really important to me when I was like 15, 16 years old, because it was when I discovered watching them and went through the canon. I, for the first time, had seen a woman that I was like, “Oh, I can be that kind of a woman. I’m not really the nerd, I’m not really the charactery person. I’m not really the sexy one, but I am a neurotic, nervous, but semi-intelligent one, but I also say stupid things.” It felt comforting to know that that was an example of a kind of woman I could be when I grew up and when I was going through that transition in teenagehood."

"Number one that always springs to mind is Billy Wilder’s The Apartment. I’m sure you’re familiar with that film. It’s one of those movies which manages to combine all sorts of flavors. People tend to think of it as a romantic comedy, but actually it has some quite dark elements; the Shirley MacLaine character tries to kill herself at one point. And that’s the sort of movie, I like to think — in terms of the sort of films I would like to try and make — are films which are hard to pigeonhole. It has elements of humor, maybe, but there’s also drama in there. Billy Wilder’s one of my heroes, because I think he’s able to sort of step between different genres and make masterpieces."

"Thinking about my upbringing, this was actually one of the first movies I saw. I was about 15. I was always told that films were evil and such, but I started to realise what a load of crap it was that something this good should be forbidden. I had been allowed to read as much as I wanted when I was younger, so I recognised great art when I saw it, I just didn’t realise it would be at the cinema as well. And so I walked away from that. To Kill a Mockingbird was so important because it was such adult film-making – to see something that dealt with such an important issue and had such an enlightened outlook on the world.”"

"This film and the Criterion label are synonymous for me. Its beautiful cover art and immaculate menus seem to fit perfectly with its lead character; it’s almost as if Max Fischer himself were unsatisfied with the original vanilla DVD release from Disney and produced a handcrafted one instead. The actual film is a brilliant gem by Wes Anderson, and one that still shines brightly today. Just in the past year, we’ve seen a number of films that walk in the shadow of this one. Of course, it wouldn’t have inspired so many movies, music videos, commercials, and TV shows if it wasn’t such a distinctive effort. This is an undeniable cult classic, one that every Max Fischer on the planet has on their shelf."

"Pulp Fiction was a very big deal for me. That was the first film I remember seeing where I felt compelled to have a conversation afterwards with anyone who saw it. Prior to that, I was still a young kid; I was still in high school, and I would see movies and I would be like, “Oh that was great,” and move on. But that was one that stuck with me for so long; the performances and the dialogue were just so memorable. I just wanted to talk to whoever had seen it. I just felt like it was something you needed to talk about. And obviously that was a film that really changed the direction of film history for a great many people, myself included."