"I really love the enigmatic, haunting approach of this film—how it presents this all-girls boarding school, repressed and rife with secret undercurrents of sexual longing, that then ruptures upon colliding with the mysterious and raw natural world. It’s such a fascinating film to puzzle over, and I find it inspiring how the writer of the original novel, Joan Lindsay, by not providing a solution to the mystery and instead allowing the mystery itself to be the focus, upended narrative expectations and created something so beguiling and unforgettable."

"I do remember talking with [filmmaker David] Fincher. He was telling me about the original one that [Michael Haneke] did, Funny Games, and I was telling him about Hidden. And we didn’t realize in that conversation that we were talking about the same filmmaker. But it is truly, for me, the God of cinema, that just does not breathe a step wrong, and is contemporary life apart from Kieslowski’s time — is Haneke. I looked at that film and I thought it the most thrillingly, chillingly, correctly timed movie that I have ever seen."

"Indiana Jones, that trilogy I just rewatched on a plane from a holiday I just took. I watched all three, and Temple of Doom just continues to win me over. I know; usually, people like The Last Crusade, and there’s a lot of love for Raiders, because it’s the original. But Temple of Doom is just, to me, so funny and entertaining and fun. And the kid from Goonies — Hot Shot? Short Round. He’s so funny, and I grew up with Goonies, but I prefer him in Indiana Jones."

"Knowing it is my favorite book, for my 34th birthday, a boyfriend once gave me a signed first edition of Erica Jong’s Fear of Flying. Having always read tattered paperback versions, I had no idea the original was adorned with a spectacularly ornate cover that’s evocative of a Hieronymus Bosch. I’m not a big collector of anything but no matter how often I pare down my belongings, I never get rid of this. (Even though the boyfriend was long-ago lost to history, his accompanying birthday card remains tucked inside the book.)"

"I discovered the film on TV in Spain and still like the Spanish title, Rufufu—signaling it as a travesty of a Rififi-style clever caper. The original Italian title—I soliti ignoti (Persons unknown)— also becomes very good once you’ve seen the film. Just the way the characters eat food in the movie is delightful, and the filming style classic and brilliant—a comedy of great elegance. The only two autographs I’ve collected are Mario Monicelli’s and Diana Ross’s (whose “I’m Coming Out” greatly aided the Last Days of Disco soundtrack)."

"Clash of the Titans raised me, to the point where I probably watched it in my old apartment 35 times. It was a constant. It was so advanced for its time. Harry Hamlin was in it; he went on to be in L.A. Law with Blair Underwood. And the Kraken… It was so good! I could watch it over and over. I think they tried to remake it, right? With Sam Worthington? The original Clash of the Titans, though, is just… I could watch that all the time."

"My admiration for Pessoa goes beyond reading his prose. I am in awe of his invention of the heteronym which allows him to be a multitude of authors. Pessoa creates different authors with different languages, voices, putting forth different, often contradictory representations of the world. His strategy is not to be confused with appropriation. All voices/authors are original and distinct. The lesson I took from Pessoa is that I must constantly distance myself from the activity of making so that I can observe my work from a vantage point other than my own."