"Number five — this is a tough one. I think the one I would like to say, though, is one — when I was a kid, this is the one that I watched all the time. I had it on VHS tape and probably wore the tape out – I know just about every line from the movie. I don’t know why I loved it so much, but the movie Oliver. The musical version. The Lionel Bart one. Ron Moody was the guy that played Fagin. Growing up, we never went to the movies. I grew up in a pretty rural town in Alabama, and we just never went, and so our big excitement for the weekend would be to go to the video store and… We also didn’t have a VCR, but you could, back in the day, rent a VCR. So, we would rent a VCR, and for some reason, we owned the movie. We owned two movies; we owned Oliver and we owned The Wiz. Whenever we would rent the VCR, we would watch the movies that we rented, but then, because we had the VCR, we’d always end up playing Oliver and The Wiz again. I think that’s probably why I fell in love with it. And then, ironically, it wound up being the first play that I ever did in community theatre. Although I’m [also] obsessed with The Wiz. It terrified me, as a kid. That was gonna be the other one I was gonna say. It was either Oliver or The Wiz, but The Wiz is just amazing."

"As a kid in the middle of Illinois, it was really a culture vacuum. I mean, we had the Eagles on the radio and John Denver, which are fine in their own right, but you want a little more variety, especially if you’re going to end up being an underground hedonist like myself. When Mel Brooks movies came my way, it was just like, “Holy shit. These were made in heaven and sent straight to my VCR.” You know, come on, just Mongo. If you’re 12, all you care about is Mongo farting and punching out a horse. Literature does not become any more refined than that of the great Mel Brooks."

"My older sister and I watched this movie endlessly. We didn’t have a VCR so we had to rent one with the movie from the video store. My parents probably thought we were crazy for continuously renting the same movie…but thankfully they let us, and we loved it. Wonder, magic, fantasy, heroes, villains, and saving the day. That about sums up what I love most about movies. I love being transported to another place and living an adventure vicariously. Jim Henson, Frank Oz, and team were a wonder and a great gift to film and television. I’m sure this movie has helped foster creativity within me and a sense of wonder and possibility for greatness."

"There is an embarrassing story flying around about me faking appendicitis when I was eleven years old. Sadly, it’s true. The upshot of the experience is that whilst I was in hospital my parents bought a beta VCR player. So on the way home after being released, we stopped at a very small garage (or gas station) which had a few shelves of movies. There were no video stores yet. We hired The Sound of Music for two weeks and I watched it repeatedly, several times a day, while I recovered. Needless to say, I know every word and love it dearly. I guess I love the way the family slowly embraces Maria. She has such a good heart, and it finds the perfect home. How do you solve a problem like Maria?!"

"I saw Blue for the first time when I was in film school. I checked out a VHS tape from the library and watched it on a twelve-inch TV/VCR. The movie finished and I sat staring at the dark screen while the tape auto-rewound. When it reached the beginning, I pressed “Play” and watched it a second time. When it stopped the second time, I turned everything off, went to bed, and stared at the ceiling. A week or so later, I finished the trilogy and thought, If these are called movies, we need a new name for everything else. I’ve never seen music sewn through film so deeply, as if the actors were thinking the soundtrack while they were acting. However he did it, Kieślowski caught the chaos of being human without the mania (for instance, the elderly woman carefully disposing of recyclables). His films are life-affirming for the jaded—they are the smartest and sexiest of unintentionally philosophical films, never talking down or forgetting to entertain. And the ending of Red—well, isn’t that the ending of everything?"

"I saw Blue for the first time when I was in film school. I checked out a VHS tape from the library and watched it on a twelve-inch TV/VCR. The movie finished and I sat staring at the dark screen while the tape auto-rewound. When it reached the beginning, I pressed “Play” and watched it a second time. When it stopped the second time, I turned everything off, went to bed, and stared at the ceiling. A week or so later, I finished the trilogy and thought, If these are called movies, we need a new name for everything else. I’ve never seen music sewn through film so deeply, as if the actors were thinking the soundtrack while they were acting. However he did it, Kieślowski caught the chaos of being human without the mania (for instance, the elderly woman carefully disposing of recyclables). His films are life-affirming for the jaded—they are the smartest and sexiest of unintentionally philosophical films, never talking down or forgetting to entertain. And the ending of Red—well, isn’t that the ending of everything?"

"I saw Blue for the first time when I was in film school. I checked out a VHS tape from the library and watched it on a twelve-inch TV/VCR. The movie finished and I sat staring at the dark screen while the tape auto-rewound. When it reached the beginning, I pressed “Play” and watched it a second time. When it stopped the second time, I turned everything off, went to bed, and stared at the ceiling. A week or so later, I finished the trilogy and thought, If these are called movies, we need a new name for everything else. I’ve never seen music sewn through film so deeply, as if the actors were thinking the soundtrack while they were acting. However he did it, Kieślowski caught the chaos of being human without the mania (for instance, the elderly woman carefully disposing of recyclables). His films are life-affirming for the jaded—they are the smartest and sexiest of unintentionally philosophical films, never talking down or forgetting to entertain. And the ending of Red—well, isn’t that the ending of everything?"