"Anyway, the next one I have to say is Milestones, and that’s just because of the massive impact it had on me in general and by Robert Kramer and John Douglas. Basically, this movie put within me emotions and memories that I never had, and I was feeling them in the theater as if I had them. There’s a scene where John Douglas is playing – I think he’s playing the saxophone, and the other guy is doing some ceramics, and it’s just such a happy moment, and it’s so small. But in that moment, I’m just with them 100%, and then there’s a birth in the movie, and the birth, you’re feeling elated. Not because it’s a beautiful thing in the world, but because you’re feeling the kind of coming in of a new life as these parents. And there’s just something about the cinematography, the people, and the characters, and the colors of it all. It’s an amazing movie. And I remember watching it being like, “OK, you can do this to an audience.” That was mind-blowing."

"It’s dramatically different [from The Godfather] in terms of this town and the world of it. It’s a good movie, tremendously. I’m a writer, so obviously I enjoy the content because it’s about writer things and writer dramas and writer people. It’s just one of the funniest things I’ve ever seen. I can watch that movie over and over again. Robert Downey Jr. gives one of his best performances ever. And very funny. And I love Michael Douglas in it; he’s great. But it also has this wonderful capacity for pathos in this very earned way. It doesn’t feel kitsch. It feels really earned and honest, so it can play those lines really well."

"I’ve been directing television for almost twenty-five years. In that time, one thing that I have learned for sure is that Douglas Sirk is the godfather of all dramatic television. It all comes from him. The best of television is redolent with his sense of ironic and knowing melodrama. He piles on the conflict in each and every scene. Bad things and disappointment stalk his characters, but always with style. The first ten minutes of Written on the Wind are literally drunk with this style. Robert Stack drinking from the bottle in an intensely yellow sports car, hundreds of leaves that blow through a Texas mansion, pages of a calendar that flip through time, and, above all else, Dorothy Malone. Nobody mambos like Malone: the sequence where she drunkenly mambos in her room while her father dies of a heart attack is choreographed for the camera like a Minnelli musical. Sirk blocks a scene with such dynamism and artfulness you can turn off the sound and know exactly what’s going on. All That Heaven Allows got me into Sirk, but Written on the Wind is the poster on my office wall—it’s a touchstone, a timeless piece of popular art."