"Man Bites Dog is a Belgian film in 1992. It’s about a film crew that starts following a serial killer around, and he’s charming and disarming and delightful, and he kills people with this film crew never interceding. The first time you see it, you’re like, “Wait a minute,” and you laugh a few times, and the second time, you laugh the whole time. It’s a bleak, dark comedy, but my god, it’s so funny. It was unlike anything I had ever seen before. It was before the onslaught of reality television, but it makes a perfect comment on it now. It had subtitles and I still loved it. I laughed so hard."

"Buñuel’s work is very important to me because it made me understand how far you can go with imagination and still be so close to reality. For me, The Exterminating Angel is so real—maybe Buñuel wouldn’t be happy to hear me say that because he’s not famous for his realism. But even if it’s a surrealistic parable, I’ve been so many places where I felt like I was living inside the feeling of this movie. It’s like a documentary about society. When I was making my movie Happy as Lazzaro, I surveyed movies that all talk about how to be good, because Lazzaro is a good man. Viridiana came up as something to watch."

"I loved Pan’s Labyrinth. It transported me into another world. I like fantasy worlds; I love Lord of the Rings as well, for that reason, because you really get to get out of reality and go somewhere else. Pan’s Labyrinth was kind of this dark, sick, beautiful… it was like watching a moving painting, like a Salvador Dali painting or something like that. It was just really magical and it sort of provoked so many different feelings at one time. It’s kind of sick, you know, the guy with no eyes is coming at her and it felt like when you have a crazy dream — you’re watching someone’s crazy dream. It just affected me."

"Buñuel’s work is very important to me because it made me understand how far you can go with imagination and still be so close to reality. For me, The Exterminating Angel is so real—maybe Buñuel wouldn’t be happy to hear me say that because he’s not famous for his realism. But even if it’s a surrealistic parable, I’ve been so many places where I felt like I was living inside the feeling of this movie. It’s like a documentary about society. When I was making my movie Happy as Lazzaro, I surveyed movies that all talk about how to be good, because Lazzaro is a good man. Viridiana came up as something to watch."

"Again, an extremely individualist author, if even, in his case, in leftist, selfless empathy; a reconceiver of his medium/genre, making a very dark documentary about human reality. I’ve seen it twice all the way through, I guess (it’s nine-and-a-half-hours long). This subject—the treatment of Jews in Nazi territories, primarily slave labor and extermination camps—is always controversial, but to me it’s compulsively gripping, and Lanzmann’s approach, whether or not you have some argument with it, is original, conscientious to the nth, and the film supremely thought-provoking. He is fascinating too—a thinker of the highest order whose moral and physical bravery equals his level of thought."

"Frank and April Wheeler are a young married couple who’ve moved from Greenwich Village to the suburbs. They consider themselves intellectuals, and they’ve left the city with regret. The way they justify it in their hearts is to assume that they are better than their neighbors. But one night, while with another couple, Frank tells a story, and in the middle he realizes he’s told it before. It’s an awful scene—a moment when Frank and April come to terms with what their life really is and how fully they’ve compromised their dreams. They try to reclaim one: to live in Paris. But that fantasy is only a reprieve, and when the moment passes, the reality sinks back down."