"Then the second one – and let’s say, this was in no particular order – but A Man Escaped, the [Robert] Bresson movie. That has to be my favorite movie of all time, just because it always makes me cry at the end, because I feel like I’ve achieved something that the character achieves. And it tells you what happens in the title, and it makes it no less suspenseful the entire way. You’re literally feeling the sound of the gravel as he puts his foot down – those shots of the foot or the spoon going into the slot. All of these things, the editing of it, the character, the way he’s using these actors who you don’t really know, they just – you feel like they’re real people. It’s just so perfectly put together, and it’s something where I kind of feel like I’m going along with the escape in a way that’s just done by a master. In a weird way, I feel like Bresson is the Fontaine character in that movie. But what’s weird is I’ve watched it again recently, and I had a totally different feeling of it, where it was more about society and how people are talking to each other. And then you realize Bresson is just kind of making the same movie every time, just with different [settings and characters]. One’s World War II, one’s Lancelot."

"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."

"Next up is There Will Be Blood. I gotta say, Paul Thomas Anderson might be the best working director alive. There Will Be Blood was such an interesting balance of showing why Daniel Plainview prospered in the oil rush of California. But it also shows how he’s essentially decrepit as a human being. He’s almost rotting away. He’s losing sight of his own humanity. It’s about dehumanization. Even outside of how gorgeous it looks, especially when the fire ignites the oil derrick and then the camera is rushing in. It’s a low angle tracking shot following Plainview as he’s rushing toward the fire. The colors in that scene are literally just dumbfounding. But the biggest thing is performance, performance, performance, performance, performance! Daniel Day-Lewis is amazing, and Paul Dano as the pastor is freaking insane. Insane! And his dynamic with Daniel Plainview is some of the most compelling s–t I’ve seen on film. The fact that Plainview views Paul Dano’s character as a necessary mechanism to control the people in the town, but he doesn’t give him any bit of respect; Plainview doesn’t believe a lick of what Dano is saying in those church services. But he feels it’s important for the people in the town that are working day in and day out for him to believe it. It’s such an interesting dynamic."