"I have been under the influence of John Cassavetes and Gena Rowlands and their extended family in film ever since I saw a retrospective of Cassavetes’s movies at MoMA soon after he died. I could have listed any number of his films: Faces with Seymour Cassel and Lynn Carlin, Opening Night with Rowlands and Ben Gazzara, or Husbands with Peter Falk . . . it doesn’t matter. Each film is made with a love, passion, and style unique to John, and inspiring to the rest of us."

"The Band – they happened at a time when I was in my most purpose driven period, which was after I came out of hospital having being cured of tuberculosis. I was looking up everything that was going on and one of the albums I got was this one. It was just amazing how this authentic expression of folk rock or electrified folk complemented unique songwriting. It’s like if you listen to the Dubliners – that’s almost the equivalent of this American style. So yeah, that was big."

"The American title — Big Deal on Madonna Street — must be the worst of the international variants for Mario Monicelli’s brilliant incompetent-caper comedy, said to be the absurd version of Rififi. The direct translation — Persons Unknown — used elsewhere, seems funnier once you’ve seen the film; the Spanish distributor had the wit to call it Rufufu and there it’s a treasured classic. The shooting style — the great use of the so-called “curtain effect” — has also been something we always try to put to use."

"As a young student living in Dublin, I always thought it vaguely pretentious that I should be reading Joyce. But I couldn’t even begin to start with “Ulysses,” and then I discovered “Dubliners,” and thought, this is perfect, this is my kind of thing: An evocative but simple style of writing. I was so delighted for myself: “I’ve read Joyce, I can tick that off my list of smart things I should be doing.” It was just such a surprise to find it accessible."

"I didn’t know anything about this film; I decided to just try it. I loved it. An old-style movie, and Mifune’s wild-man performance gives it special stature. There are not many actors with his charisma, a true strength, and humor, vulnerability, and truth. The film is well told, strong, honest, and simply filmed. I found it refreshing to be reminded that these simple qualities made the film, now fifty years old, beautiful and alive to me; a classic just like you promised, Crit"