"A gloriously ludicrous slice of 1980s cinematic fromage. Between the infectious Queen soundtrack, eye-popping Technicolor special effects, super hot Italian space princess, outrageous production and costume design, a deranged Max von Sydow spitting eminently quotable lines, and a leading man whose principle qualification was being a Playgirl centerfold, this movie had it all. I must’ve watched it fifty times when I was a kid. It was on a near-constant loop in our living room Betamax. One of the great many things I love about being a father is sharing my beloved childhood experiences with my kids. I was so giddily excited to watch this movie with my children when they were old enough. I couldn’t wait. They turned it off halfway through. I spent the next twenty minutes trying to convince them how awesome it was. They weren’t having it. My kids have terrible taste."

"The Girl Can't Help It isn't about the status of teenagers, but it had huge impact on teenage audiences. On one level it's like one of those terrible Don't Knock The Rock films - just a compendium of performances. But it's got a more sophisticated plot that alludes to mob involvement in the music business. And it's got Tom Ewell, who's a very fine comic actor, and Jayne Mansfield, who's a fascinating and fated character as well. You get Eddie Cochran and Little Richard – neither of whom played in the UK for another few years – so you can imagine what it meant to The Beatles when they went to see it. All that early rock & roll period is so un-self conscious, people didn't know what they were doing and The Girl Can't Help It showed British teenagers the American lifestyle. America is the thing that everyone aspired to at that point. Glorious Technicolor in every way."

"I saw it at BAM in Brooklyn when they were doing a Schlöndorff retrospective, and I didn’t previously know much of his work but then got super obsessed with him. What’s cool about him is that his films are all totally different. The Tin Drum is a crazy epic story told through the perspective of this young boy, and the voice-over is incredible and takes you through his experience. A lot of people think the voice-over in We the Animals is a reference to Malick, but we’re actually referencing The Tin Drum. What I love about this movie and Ratcatcher is that they show an understanding of childhood sexuality, which you only really see in European films. The other thing that’s really important about The Tin Drum is the color palette. It has this incredibly vibrant, almost Technicolor palette. I showed the film to my DP and everybody that we worked with."

"I’ve said and written so much about this picture over the years; for me it’s always been one of the very greatest ever made, and every time I go back to look at it—about once a year—it’s new: it reveals another side, another level, and it goes deeper. What is it that’s so special about The Red Shoes? Of course, it’s beautiful, one of the most beautiful Technicolor films ever made; it has such an extraordinary sense of magic—look again at the scene where Moira Shearer is walking up the steps to Anton Walbrook’s villa, especially in the new restoration: it seems like she’s floating on currents of sparkling light and air. And there’s no other picture that dramatizes and visualizes the overwhelming obsession of art, the way it can take over your life. But on a deeper level, in the movement and energy of the filmmaking itself, is a deep and abiding love of art, a belief in art as a genuinely transcendent state."

"It was my daughter Tiffany who made me see the beauty of this film—she loved it so much as a child, and I think in many ways it spoke to her on the difficult choice for women artists between art and love, a calling of career and the calling of the heart. The Technicolor restoration of the film is stunning. This was one of the early titles in the Criterion Collection, and it’s just gorgeous. The DVD production was helped along with the loving hands (certainly one of my favorite pair of hands on earth) of film editor Thelma Schoonmaker, Michael Powell’s widow.There’s fantastic commentary with cinematographer Jack Cardiff and Ian Christie, as well as Martin Scorsese, a close, dear friend of Powell’s. And actress Moira Shearer gives such a wonderful account of the feelings of awe and fear of the dancers around working with living ballet legend Leonide Massine . . . and how in spite of this, she and Massine came to get on like a house on fire. He would fill her with the most amazing tales of his life in the last true golden age of ballet with the great dance impresario Sergei Diaghilev—I cannot even imagine what a thrill these hours of conversation must have been!"

"One of my favorite filmmakers is an Italian director named Mario Bava. His most famous movies have titles like Black Sunday and Black Sabbath and all that, but the one that really was astonishing at the time was a picture called Blood and Black Lace, which is one of the most gorgeously lit Technicolor movies I’ve ever seen. And it’s a whodunit kind of thing — a murderer in a fashion house and models are being killed in various gruesome ways. This is the early ’60s when you could get away with a lot more in the way of explicitness than you had been able to before, and these movies still basically played grindhouses. But it’s such a beautiful movie to look at, and the juxtaposition of beauty and death is really perverse in it. It runs through all his works, but in this particular movie, which I think is one of Tarantino’s favorites, it really comes to the fore. It’s a very entertaining picture, and very violent. Bava was completely unknown when he was actually alive. Almost nobody except, you know, the most extreme film buffs ever saw those movies. But now, as often happens to people when it’s too late for them to enjoy it, he’s now revered, and people see his movies who didn’t even know they existed before."

"The notion of making a fiction — meaning you look at it and you think it’s all documentary footage, but it’s all shot. And the reality factor of that is something that makes you able to escape into the film; the fabric of that fiction is so believable and completely knitted together that you buy the proposition of the film — even when you see people getting shot and there’s no blood coming out of their bodies or whatever. There’s something about shooting something [in black and white] — and I’m talking about two movies that are in black and white, we should say, except for the part [in Andrei Rublev] where they show the color of the fresco of the Russian icons. I really like movies that are in black and white, because you feel like you are watching a movie. We associate it with things that were filmed at that time, that would have been filmed in black and white. So there are different concessions and commitments to make to a limited palette for a reason. When I make a movie like Miral, there’s a kind of reversal stock that I’m using outside and sometimes it really feels like Technicolor, like a movie like Exodus, and there are other moments when it’s rougher and it feels like The Bad Lieutenant, or something like that."

"In the recent documentary Gerhard Richter Painting, the painter speaks at length about being a young artist emerging in post–World War II Germany. He says that he always considered painting to be nothing more than a trade that one dedicates oneself to day after day. Working is, above all, very respectable. Perhaps this attitude can be attributed to the fact that postwar Germans were faced with the arduous (but perhaps liberating) task of writing a new history for themselves—trying to come to terms with the past while simultaneously looking toward the future and the endless possibilities therein. With such daunting business at hand, a workhorse spirit would be a must for all German artists. Fassbinder most definitely had that spirit, leaving behind forty feature-length films and playing countless other roles over the course of his short career. Lola alludes to some of these particular pressures and concerns. Lola herself is a woman with a troubled past pressing forward with her life. It is a great, classic story, and a lot can be read into it. But on a purely aesthetic level, Lola is a sumptuous visual journey. So many textures and colors . . . if Zéro de conduite is a Dadaist masterpiece and The Scarlet Empress is expressionism on film, Lola is pure Technicolor pop art, and one of the best late Fassbinder films. Coincidentally, Rainer Werner Fassbinder died the day before I was born."