"It’s unfortunate that there aren’t more movies about working-class people killing rich perverts and taking their money. Paul Bartel is one of the great gonzo satirists of cinema, and with apologies to Costa-Gavras or whomever, this is probably the most common-sense, pragmatic political film in the Criterion Collection. Also one of Mary Woronov’s greatest roles."

"Paul Farmer is one of the most impressive people I’ve had the honor of getting to know. He’s an amazing advocate for the health of the world’s poorest people, and he co-founded a system of health clinics in Haiti that reaches more than a million people in some of that country’s hardest-to-reach places. Melinda and I took our kids to Haiti this year so they could meet Paul and see the work he leads. In this book he really opens your eyes to the vast differences between the health of the rich and the health of the poor."

"There was a PBS special on Sondheim, and I got steeped in “Company,” and “Barcelona” really stuck out. It was like the third character in that scene was Bobby’s emerging soul. Beneath this lilting back-and- forth, push-and-pull of the song was the strong current of what was pulling Bobby to “Being Alive.” It was as rich as any Paul Simon or Neil Young song that I was starting to fall in love with."

"Now we’ll start with the Paul Newman ones. The three Paul Newman ones. I guess I’ll start with Cool Hand Luke. I think it’s the first time I ever started to recognize metaphor. Or I guess allegory, because it’s a bit of a Christ allegory, I think. After he eats those 50 eggs and he’s laid out on that table it’s the same way that he’s laid out at the end after he’s shot. His legs are crossed, and his arms are out. I didn’t know when I first saw that film that that’s what was going on, or I didn’t know how that affected the rest of the story, but I recognized it, I know that. Because Cool Hand Luke is a strange film where I grew up with it on TV every weekend. It was just one of those films that always played on cable on the weekends growing up. It’s just always there, so you never really consider it. My dad loves that film. Then you go back and sit and watch it when you’re older and you realize that in the background of your life there was this amazing piece of artwork playing. Obviously its depiction of the south and the character behavior in it is just so rich and the cast amazing. Also I’m really drawn to this idea of a square peg in a round hole. That’s what Cool Hand Luke was. Luke was this guy, he wasn’t a bad person but he just didn’t fit in the world around him and he was persecuted as a result. Yeah, he was responsible, he was cutting the heads off parking meters. He was always culpable in the things that he did. But it was more a result that he probably just never belonged anywhere and he was restless as a result, unsettled. What that says to me: it’s not like that’s the way I felt in my life — quite the opposite actually. What I recognized in that is that is an archetype of a man, that person exists. To be able to take a personality type like that and make it so realistic, make it not cliché, make it not generic, but at the same time represent this type of person — I’m really impressed by that. It’s kind of what you strive for in ultimate storytelling in my mind. Both specificity and universality all at the same time."