"With Alan Arkin and Peter Falk, [it’s] my favorite comedy. The two of them basically put on a comedy film acting clinic. Their timing and interplay is simply perfection on film."

"It makes me pee with laughter. Peter Falk and Alan Arkin are a perfect combination and play off each other so well in this ridiculous movie. I watch it at least once a year."

"“Serpentine!” The funniest movie ever made. A buddy comedy with unparalleled chemistry between the two leads, Peter Falk and Alan Arkin (and Cassavetes’s DNA is at work even beyond the Falk connection, as John would replace the director of the disappointing not-quite-a-sequel, 1986’s Big Trouble). Falk and Arkin are a mismatch made in heaven. Rumor has it this was Brando’s favorite movie and is the reason he signed on to The Freshman, which was written and directed by The In-Laws scribe Andrew Bergman. Richard Libertini almost manages to steal the film in the last act as an eccentric Central American dictator/ventriloquist/art-lover."

"In which Peter Falk and John Cassavetes play two broken goons who bond, bicker, and ultimately level each other during one rough night in Philadelphia. May made this just a few years after The Heartbreak Kid—a perfect movie, and one that I hope Criterion can add to its catalog someday!—and while the two films couldn’t be more different in terms of tone, they both zero in on a kind of self-defeating, self-aggrandizing male psychology that’s a little too relatable at times. And Falk and Cassavetes are so remarkable here that you can’t help but wonder which two modern actors would play these roles today."

"I thought for years that Wings of Desire was my favorite film. It might still be; I’m not sure. It’s filled with so many beautiful images, and the score by Jürgen Knieper is one of the most gorgeous things I’ve ever heard. I went to the movie theater alone and was high for days after seeing this. Peter Falk is incredible in this as well."

"I have been under the influence of John Cassavetes and Gena Rowlands and their extended family in film ever since I saw a retrospective of Cassavetes’s movies at MoMA soon after he died. I could have listed any number of his films: Faces with Seymour Cassel and Lynn Carlin, Opening Night with Rowlands and Ben Gazzara, or Husbands with Peter Falk . . . it doesn’t matter. Each film is made with a love, passion, and style unique to John, and inspiring to the rest of us."

"One summer, they were doing a ’70s movie revival at the Film Forum in New York, and Soter and I would go see double features; you pay for one, you see two. All ’70s movies. It was great, so we’d go there all the time. One of my favorites was John Cassavetes‘ Husbands. That was a great, funny movie; first of all, it was cool because a lot of it was improvised. There’s Peter Falk, Ben Gazzara, John Cassavetes…one of their buddies dies, so they basically decide life’s too short and they’re going to go get drunk one night and reflect on life. So it’s one night of these guys going out and drinking, but then they end up going to London."

"My favorite — my number one favorite, actually — is A Woman Under the Influence. [Gena Rowlands] is just… I respect and admire her so much as an actress. I just think that performance is so brave and extraordinary. It was one of those things that, as a woman, as an actress, I kind of appreciate, you know. And also, that film is kind of a really, truly independent film. I think Cassavetes financed it, I think Peter Falk put money into it; kind of no one really believed in it. I was in a film a couple of years ago that a studio would never touch, a movie called Trucker, which was a great opportunity for me; but those sort of movies need to be independently financed."

"Next to The Wizard of Oz, it’s my favorite movie of all time. The most honest on-screen depiction of mental illness ever. Cassavetes perfectly nails the heartbreak and frustration that eclipses a family when a loved one’s sanity slips away. It’s at times both gut-wrenching and oddly hilarious, and Cassavetes manages to make gorgeous cinema with colors and composition. Besides the impeccable, monumental performances of Gena Rowlands and Peter Falk, the supporting cast is flawless, including both Cassavetes’s and Rowlands’s own real-life mothers, Katherine and Lady, and in particular George Dunn in his role as Mabel’s one-night stand Garson Cross. In any other film the character would be played as a cad the audience would be rooting against. Not so in a Cassavetes film, where the roles of hero and villain shift moment to moment."