"Is Setsuko Hara the most beautiful actress in movie history? That’s just a rhetorical question . . . the answer, of course, is yes. In Late Spring, she plays the young daughter of a widowed father who reluctantly wants to see her married. I am the man she should have married, but that’s a different story. Like many cinephiles, I was first drawn to Ozu by his serene compositions, the meditative “pillow shots” of train stations and empty rooms that served as scene transitions, and the exquisite way that his films explore the architecture of domestic and urban life. Repeated viewings reveal that underneath the director’s formal, often eccentric playfulness, there lies a fascinating undercurrent of sexual neurosis and pathology that is thinly masked by the demure self-sacrifice of the characters. In their own quiet way, Ozu’s families are deeply fascinating. And this two-disc set has an amazing bonus: Tokyo-ga, Wim Wenders’s loving and thoughtful feature-length tribute to Ozu, the actor Chishu Ryu, and Tokyo. It’s a first-person documentary and urban portrait par excellence, photographed by Ed Lachman."

"OK, but guess what? It doesn’t matter that you’re Australian. You need to watch it, because you’ll be completely sucked in. First of all, it’s Gene Hackman. Need I say more? Gene Hackman is the best American actor living today, in my view. And it is a sports story, but it’s so much more. It’s about an underdog team and beating the odds. It’s about teamwork. And I am a basketball fan, but I will tell you that before I was a basketball fan, I was a fan of Hoosiers. That’s why I’m saying I think you should watch it, because you’ll really, really enjoy it. Dennis Hopper kills it. It’s heartbreaking, his performance. And there’s a scene at the beginning of Hoosiers — it’s going to sound crazy, but Gene Hackman is driving and he’s drinking from a takeaway cup of coffee, and the way he’s drinking the coffee is so real and so authentic. He just gives an accurate… such appreciation for every gesture… every movement of that man."

"The first two, I’m gonna go with Elia Kazan, ’cause they’re really the reason why I became an actor in movies. East of Eden, with James Dean, and A Streetcar Named Desire, with Vivien Leigh and Marlon Brando. The performance by James Dean — the scene specifically where he tries to give his father, played by Raymond Massey, the money from selling the beans on his birthday, and he’s rejected — it broke my heart; it was not like anything I’d experienced before, in terms of art, and I’d seen a lot of movies at that point. I was 15, and I’d seen Bergman’s Seventh Seal and Fellini’s Juliet of the Spirits and Welles’ Citizen Kane — great films, but when I saw Dean in that, it really put the hook in me because I felt like him and I knew then the power of film acting, and I knew then what I wanted to be, what I wanted to do to try to move people with motion pictures. So that’s why I have to put that on the list."

"One movie that has always resonated with me is The Terminator. [laughs] I just loved it. Maybe it’s the fact that I was five when I saw this movie, so I was very overwhelmed by it. I felt the passion between these two individuals. I saw the strength of a woman. From the music, the robots, the technology… that movie was big because I saw it through the eyes of a five-year-old. I’m not gonna judge Terminator now that I’m 32, because obviously I’m gonna have a different take. I’ve evolved, I’ve seen different things, and life and technology and the way we see films has evolved, so it wouldn’t be fair to what Terminator represented when I was five. But that essence will never die. Terminator was very impacting for me. It really helped me a lot, to understand the kind of actor I wanted to be, and also the kind of movies and genres that I gravitate towards and absolutely love. That movie, seeing it at that age, was amazing."

"All right, Stanley Kubrick was a genius, the master of the big, ambitious film that stuns the senses, like 2001: A Space Odyssey. But Paths of Glory is one of the last great triumphs of black-and-white filmmaking. It is also a tribute to the talent of Kirk Douglas, who here takes on the role of a French colonel in the trenches of the First World War with such explosive energy that one realizes how many films (and directors) were unworthy of Kirk’s genius as an actor—his first acting role, by the way, was onstage as the servant in Chekhov’s The Three Sisters, with Catherine Cornell, Judith Anderson, and my mother as the sisters and Ruth Gordon as the dreadful sister-in-law. Nobody has ever captured the First World War better on film (except perhaps for Jean Renoir in Grand Illusion, which is in a class by itself). A heartbreaking giant of a film, not a bad shot or a wasted frame in it; perfect filmmaking."