"The music is so beautiful, and the people are so beautiful. I first saw this as a very young kid, and I just remember being captivated by the sensuality of the story and those moments with everyone dancing in the street. This movie opened up my world—I’d never seen black people’s lives portrayed in such an artistic, almost New Wave-y style. And I don’t know if I’d ever seen a film about black people that was this romantic."

"That’s a movie I’ve easily seen a million times. It’s my standby movie. Where if I want to watch and movie and don’t really want to think too hard. I know the villain character in there is really, really awful. It’s a weird movie. [But] I think like it the most because it has a really great style. I love the rollerblading kids who think they’re so badass. And they have that really cool computer club, and café, and dance club."

"Slacker introduced Linklater to us indie-film fans, and Dazed and Confused introduced him to the world. Slacker spawned so many indie filmmakers and established Linklater’s walking-and-talking style, which he continued through the years with other films like Before Trilogy and Waking Life. Dazed is a picture-perfect time capsule with an amazing wall-to-wall soundtrack. It’s for the seventies what American Graffiti was for the sixties and Fast Times at Ridgemont High was for the eighties."

"Slacker introduced Linklater to us indie-film fans, and Dazed and Confused introduced him to the world. Slacker spawned so many indie filmmakers and established Linklater’s walking-and-talking style, which he continued through the years with other films like Before Trilogy and Waking Life. Dazed is a picture-perfect time capsule with an amazing wall-to-wall soundtrack. It’s for the seventies what American Graffiti was for the sixties and Fast Times at Ridgemont High was for the eighties."

"I pretty much could have picked any Kurosawa film. They’re all masterful. But the first time I saw Toshiro Mifune in Drunken Angel it was an absolute revelation: I want to do what that guy’s doing! He did it with style throughout his career, and I love him in all of his collaborations with Kurosawa (High and Low, Seven Samurai, Stray Dog, etc.), but his performance in this film, as a small-time gangster with tuberculosis, is badass. I love film noir."

"Moore is completely unsentimental but able to stir enormous feelings in the reader, or, certainly, in me. Her style is so original: The way this book is structured, the narrative is like an anagram. It begins with Benna, a singer, and her neighbor Gerard. The characters in each succeeding chapter have the same names, but they're different people. In one, she's a schoolteacher and he's a graduate student. I've never read a book where the identity is the same but always changing."

"I love this movie and its revisionist style and its radical politics, but most importantly there is no more punk-rock move in cinema history than having the opening credits be the checks that you’re writing to the cast and crew. Godard—the rich-kid film nerd to end all rich-kid film nerds—gets the machinations of the motion picture “industry” better than any of us. Contempt is masterful, Weekend is a lark, Tout va bien burns everything to the ground."

"Train Station Fight Hero fights with two people are the most fun to choreograph and probably also the most entertaining to watch. This film was a long time in the making – almost three years. The actors trained hard to learn martial arts and it all shows in this scene. Zhang Ziyi’s bagua and Max Zhang’s xingyi are on full display and we incorporated the best moves from each style. It was the perfect culmination of martial arts, hard work, and cinema."