"The searing regret of having made the wrong decision in life and realizing it too late makes this book as heart-wrenching today as it was a century ago. Wharton’s writing style, too, is fresh and durable—surprisingly modern when compared with that of her friend and contemporary Henry James. Among the most memorable passages are her prose portraits. Her mocking 165-word description of the doyenne of New York society Mrs. Manson Mingott in chapter four is a hilarious classic of the genre"

"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"