"“I like Tim Burton, but this is one of his that gets me every time. It’s a movie about the relationship between fathers and sons and about storytelling, and those are two things that I have particular interest in. It makes me cry like a little girl every time I see it. It has three denouements in it – after every one I’ve got tears on my face.”"

"And then kind of parallel to [Nothing but a Man] — number three would probably be my most favorite romance, Paris Blues. Sidney Poitier, Diahann Carroll, Paul Newman, and Joanne Woodward. I love it. The dialogue in that film is some of the best I’ve ever seen. And Sidney Poitier, I think, gives one of his best performances. And it’s so, so sexy, that movie."

"An Iranian poetess made this film on her own, upon a request from a leper’s house. She died three years after. I often show this most poetic and distressing film in festivals. The audience is always blown away, despite its monstrous side. I also think about the destiny of this woman, directing a movie in Iran in 1962, which must have been very difficult..."

"The Godfather. But you can’t say The Godfather I or II or III. You gotta take them all together, because, you know, they’re all of a piece. So, Godfather. Those are probably the most memorized dialogue of any film ever made. You could say any line from any of those three pictures — well, two and a half, anyway — and people would know what you’re referring to."

"The Godfather. But you can’t say The Godfather I or II or III. You gotta take them all together, because, you know, they’re all of a piece. So, Godfather. Those are probably the most memorized dialogue of any film ever made. You could say any line from any of those three pictures — well, two and a half, anyway — and people would know what you’re referring to."

"The Godfather. But you can’t say The Godfather I or II or III. You gotta take them all together, because, you know, they’re all of a piece. So, Godfather. Those are probably the most memorized dialogue of any film ever made. You could say any line from any of those three pictures — well, two and a half, anyway — and people would know what you’re referring to."

"Why didn’t you marry?” I’ve often been asked. Maybe it’s because my father took me to see Ingmar Bergman’s Scenes from a Marriage, three hours long, when I was fourteen years old. So this is what adults talk about when children are out of the room! Little did I know that most searing breakups do not include lovers who are this articulate, this prescient."