"This is hard, because it could be many things. I mean, it could be Kubrick, it could be Haneke again. Do I need to mix it up a little bit? I feel like I’ve gone very serious. I think it’s either 2001: A Space Odyssey or Funny Games by Michael Haneke. What I like about Funny Games is a moment, actually, where all of it… OK, I think 2001 is a better movie. However, there’s a moment in Funny Games that’s genius, that I love, which is when he turns to the audience, and suddenly turns the whole movie into this kind of study, where we are accountable as an audience. Because we like the violence that’s happening in the movie, and he’s doing it for us, so suddenly we’re culpable. And I think that’s a really cool moment in film that I haven’t really seen other than that. Yeah, I thought that was really clever. Also, I’m talking the American remake, not the original, because he remade it shot-for-shot for the American audience, which is really interesting, because he made it in German and then it only had so much reach, and then was like, “I want to make this for a society where violence maybe is a little more glamorized.” And I’m not just saying that about Americans; I think we’re the same in the UK, where we really like watching that on-screen. It’s just a really interesting study into that, and so, for that reason, I’m going with that. And one time I hosted a screening where all of our friends came down and watched it, and I have never seen a more depressed group of people in my life, and it was a huge mistake. [laughs] Everyone left immediately. No one hung around after."

"When I think of five favorite films, it’s hard for me to put in, like, Citizen Kane, because while that movie and many classic movies are amazing, I couldn’t lie and say, “If it’s on, I’m going to watch it,” whereas a movie like Fletch, I’ll watch. So I have to consider that one of my five favorite films. What’s interesting about that movie to me is, aside from the ridiculousness of Chevy Chase and his comedy, the plot’s pretty interesting. You’re trying to figure out what’s happening. He’s trying to write this article, he uncovers this whole scam, this fraud, and he’s being set up for this murder, and it holds its own. You can do the wacky characters for Fletch Lives, but you don’t actually have as interesting a central plot. Maybe you’ve just already seen a lot of the jokes. And he’s very good at his job. He’s actually very good at his job; he’s not just an idiot. He can say all the crazy lines and be hilarious, but he’s good at his job, and I think that’s actually what’s kind of cool. And truthfully, I think that’s one of the reasons why – they’ve been trying to reboot, remake that movie forever, but all you’re going to be doing is trying to find somebody who can be as funny as Chevy Chase. But I think what actually makes the movie stand out to me is that, if you break it down, he’s actually legitimately trying to uncover this plot and move the story along. He’s a good detective! So Fletch is the kind of movie that, if it’s on, I’m going to watch it. I’m going to watch it, and I’m going to recite every line. [laughs] I have to keep that in there."

"When I first heard that “Little Women” was being made as a film yet again, I thought to myself; why? I honestly never understand remakes, especially when there are great versions that have already been made. And in the case of “Little Women,” some very dull ones as well. The simple fact that Louisa May Alcott never actually wanted to write “Little Women” and that she and her editor thought it was flat at the time that it was published in 1868, has been obvious in several of the film and television versions of this story. However, when I read that Greta Gerwig had written a new screenplay based on the novel and that Gerwig was going to direct, my interest was piqued. Perhaps I had been wrong about the merits of a remake of “Little Women.” Perhaps the fact that an incredibly talented and wholly contemporary female writer-director had decided to take this on meant that I had overlooked something. And indeed I had. There is nothing dull or flat about Greta Gerwig’s “Little Women.” It is at once a classic and yet completely contemporary. It is lush and fresh. The exceptional screenplay, the brilliant casting, the nuanced and original performances, the sets, the costumes, the rhythm and pace are all exactly right. The film speaks to the struggles of women in our culture to break free from the conventions that in many ways still attempt to ground them. It is a coming of age tale, but it is not a coming-of-age tale mired in the mid-19th century; it is a coming-of-age tale for all time. After “Lady Bird” I was of course impressed with Ms. Gerwig’s directing, but with “Little Women” I’ve become jealous. Very jealous. Which for me is always the greatest compliment. Brava. "