"I’m not the first person who felt he’d found a soul mate upon first encountering Cassavetes’s work, but it’s a testament to how immensely personal and humane his cinema is that it seems to be speaking directly to the soul of whoever is taking it in. I will carry this astounding body of work in my heart until the day it stops beating. My hero."

"I’m not the first person who felt he’d found a soul mate upon first encountering Cassavetes’s work, but it’s a testament to how immensely personal and humane his cinema is that it seems to be speaking directly to the soul of whoever is taking it in. I will carry this astounding body of work in my heart until the day it stops beating. My hero."

"For me, this was the peak. I love Dangerous as well, but Bad feels more like a coherent body of work. You can feel the superstardom of the guy; he's at the top of the game. But still there is some weirdness: a song like "Speed Demon" is really weird. It came along with a whole film, Moonwalker. You get that the guy is now trying to recreate everything—defying gravity with "Smooth Criminal," and inventing shapeshifting ways of existing with the movie."