"I saw this in the cinema in France and was so blown away by it. I also read the book. The Piano Teacher was super important for Invisible Life as well, because there is a certain cruelty Haneke works with, particularly in this film, that helped me in adapting my story. The book that Invisible Life is based on is very sweet and very light, but I wanted to look at the characters from a different standpoint, and The Piano Teacher helped me think about that in terms of performance."

"One of the scariest, most disturbing, and most beautifully shot films ever made, this was somewhat overlooked until recent years, and I’m glad it’s finally getting the reputation it deserves. It’s as much like actually experiencing someone’s nightmare as I can remember a film being. It blew me away when I first saw it on-screen (knowing nothing about it only added to its power), and I was so happy that Criterion gave us a beautiful transfer—which is the only way this film can really be appreciated."

"I saw this just recently—proof that you can still make huge discoveries and feel like a young cinephile again at fifty. This amazing film can be filed under “cinema as a beautiful, frightening hallucination,” and it includes a rare collection of anamorphically shot images of action and movement. This is also one of those special films that are hard to assign easy descriptions. One year later, 2001: A Space Odyssey came out. Very different movies, but similar in how unusual and thrilling their ideas of cinema are."

"My uncle was a paranoid schizophrenic for his whole life, and I always strived to understand him through works of art. When I first saw Bergman’s depiction of schizophrenia and how it affects family members, I knew I was not alone in my quest to understand the human brain. Then when Lodge Kerrigan came along with Clean, Shaven, it was the first film that I believe truly depicted the honest horror of what it feels like to be imprisoned in a brain that is not yours to control."

"I adore Robert Altman, and in some ways this feels like the least-Altman Altman, but it’s like no other movie I’ve ever seen. Putatively the story of two women who became roommates in a resort town, it’s about so much more: female identity and the slipperiness of the self. I first saw it, cut up by commercials, when I was ten or eleven, and I felt like it was whispering secrets about the nature of womanhood into my ear and I’d better listen close. I still think that."

"By contrast, everyone had seen Woodstock: this movie played and played. I saw it late, expecting to just watch this bunch of weird hippies rolling around and Jimi Hendrix popping up at the end. But the performances were great: this turned me on to the Who, Joan Baez, Joe Cocker. The editing was so ahead of its time, so dynamic. Woodstock really made people realise that music isn’t just about hearing it: it’s about seeing it, and getting more of the personalities behind it. About getting more of everything"

"At a film festival conference a few decades past, I was asked by a solemn journalist which French director has had the most influence on me. I expressed undying appreciation of Truffaut, Godard, Renoir, but stated that the most accurate answer was that Jacques Tati left an indelible mark when I saw this film as a boy. The French hated that answer—Tati was out of favor at the time. Funny how that works. This film remains one of the most hilarious, affectionate, politely barbed creations. For me it’s a cinematic standard for human comedy."

"I love the movie Bullhead. I’m working with the director now. He’s kind of putting the light into a business, a very dirty business — it’s not the cool gangsters, it’s not the kind of sexy gangster world; it’s the gritty, very uncharming world of criminals working in the meat industry in Belgium. And the whole backstory to this lead guy is so incredible. I was in tears a couple of times when I saw it. And now I’m gonna work with Matthias [Schoenaerts] and with Michaël R. Roskam, who directed it."

"This movie came out when I was at film school, and everybody was talking about it. However, I resisted seeing it, because it sounded pretentious to me, the idea of a movie made up entirely of single-take scenes with black in between. It wasn’t until a couple years later that I saw it and realized it’s one of the oddest, most sincere and funny movies I’ve ever experienced. Entirely human and completely unique, it’s a movie I’m pretty sure I could watch every day of my life and still enjoy each time."