"I watched this 1947 stark, black and white, noirish prison drama as part of research for a film I directed called Animal Factory, written by novelist and ex-convict Eddie Bunker. For years I thought director Jules Dassin was a Frenchman working in the U.S. I was surprised to learn he was an American (Russian Jew) from Connecticut who fled the U.S. during the red scare of the fifties. He ended up in Paris and made the wonderful French film Rififi, which added to my confusion. The Naked City (1948) by Dassin is also a classic, shot on gloriously gritty locations in New York City."

"The other one that I did not talk about at the time, that’s also among the movies that I can replay over and over because it supports me, is The Inauguration of the Pleasure Dome by Kenneth Anger that he shot after trying LSD with Aldous Huxley in Paris. It’s the first, and one of the most psychotic movies ever, and it’s just a movie that puts you in a different state of mind. The movie itself is like a drug to the viewer, and it’s not narrative. And there’s not many movies that are trips, shamanic trips; this is an absolute shamanic trip from beginning to end."

"I watched this film at a small theater in Paris, with an audience of mostly French people in their sixties. In that environment, it actually managed to resensitize me to cinema violence, something I assumed was impossible. Hearing the gasps from the audience allowed me to see the film as intended. These poor old French people were being assaulted by the film. It was rocking their world! When the lights came up, I was both upset by the film and delighted by the expressions on the faces around me. We were all just looking at each other in silence. After that, I better understood the power of a collective cinema experience."

"Jules Dassin was an American filmmaker who moved to Paris to escape Joseph McCarthy, Roy Cohn, and the rest of the HUAC thugs. In the City of Lights he managed to make the most French gangster film and best heist movie ever. The actual break-in and robbery scene (based on a real burglary in Marseille at the turn of the century) happens over an astoundingly tense twenty-six minutes of silence. It is unforgettable. Dassin himself plays the role of the Italian safecracker Cesar under the pseudonym Perlo Vita and showed himself to be as adept in front of the camera as he was behind it."

"Agnès Varda’s New Wave masterpiece about a famous singer/fashion model who abandons her blond wig and rediscovers her identity on the streets of Paris is jam-packed with vivid detail, an expressive graphic style, and an eye for urban chaos, and is at least as engaging and inventive as Breathless and The 400 Blows. While waiting for this film to enter its rightful place in the canon of great movies, buy it now and enjoy its distinctly up-to-date sensibility. More than forty years after it was made, Cléo from 5 to 7 is a perfect movie for our times, digging beneath the surface of fashion and celebrity culture."

"This is another book I read in high school when I could not have possibly understood it. I read the whole thing, too, all seven volumes of it. I don’t know who I was trying to impress. At the time, I felt very sophisticated in figuring out that Charlus was gay and the first thing I did when I went to Paris was to go to a bakery and eat a madeleine. I’m still determined to read Proust’s epic depiction of society again. The newest translation sits on my desk but I think I’ll stick with my old Moncrieff. I’ve had a date with it since high school."