"A Streetcar Named Desire with Marlon Brando. I just want to put there. All these movies that I’ve listed, including Casablanca, you have flavors, which I like it. Drama. Comedy. And again, we may argue back and forth about what is drama, what is a comedy, right? What is melodrama? The Room never did melodrama. The thing what I listed all the movies, they’re not melodrama, they are relate to real life. Streetcar Named Desire, for example, you have, my understanding was, the time the movie was made, the main characters, Brando and… He actually raped the girl. And they cut this on the movie. That’s my understanding, that it was part of the script. So this is again saying that Streetcar Named Desire give us some evidence that people were still cautious what we present in the big screen that certain ideas or situation between two people, you cannot do it. Today’s society, as you know, we go extra miles. The Room is perfect example. We show the nudity, we show the certain stuff, because I myself, I was struggling as a filmmaker, as a director, how I present the scene. Same, you see, if you look at Casablanca, a relationship between two main characters, how they, you see… I love it, black and white movies. Sometimes you can educate yourself that you don’t have to physically show it, sexuality, but it’s there because you can feel it. Now, just because of our culture, I decided to say, “Hey, we go extra miles.” And I was struggling with this. You see, I had talked to Greg. I don’t know if he remembered but I said, “Hey, okay, is it Johnny naked or not?” I said — and I was so frustrated — and I say, “Hell with everything because I don’t know how… I want to be real as much I can.” Even though people say… Remember, The Room, and is again, The Room is supposed to be play. People forget that; they are short-handed. [laughs] I don’t want to be too negative, but that’s the history of The Room. So I will say, originally I was supposed to… I wanted to put into play, but it didn’t come out right. Actually it come out better because more people can see it. That’s basically what happen."

"Three Italians! I remember crying really badly with that when all the films in the projection room are on fire. I remember that also it was a film that when I was really young I could see myself reflected in the younger part of the film. And you can grow with the film, you know. When you become more mature you find a lot of sadness in the story of the old guy while he’s watching at the beginning and the end"

"I first saw this in 1995, when I was seventeen. My boyfriend actually left the room because it was too intense; he apparently couldn’t stomach the potent cocktail of Chloe Webb’s screeching and Gary Oldman’s rheumy-eyed menace. Even though the movie was set in a time we couldn’t remember, it mirrored our teen zeitgeist in a lot of ways. We’d just made it through the second wave of punk."

"I was still too young to drive a car when I read James Baldwin's Giovanni's Room. The concept of a devastating and doomed love story - one that was also modern ' hadn't occurred to me. I thought nothing would ever compare to Romeo and Juliet, but Baldwin's story of "the night that is leading me to the most terrible morning of my life" became the saddest love story I know."