"The Raid. Come on, man, THE RAID! It’s insane. I’m a fighter, and I love and grew up on fighting movies. I mean, Jet Li, Donnie Yen, those are my guys; Jean Claude Van-Damme, those are my guys. But this new cat, Iko Uwais, I mean, he’s fantastic. He is a great actor, but at the same time a great martial artist. They had so many great martial artists, so many great athletes, in this film, and what I loved about it was the raw nature in which they shot it. The fight scenes were done so well we believed all of it. You know, there’s not too many high-flying wire tricks. As a fighter I can appreciate when somebody does a scene so perfectly that it looks like a tangible fight, because I know what it’s like to be in the ring with somebody. First of all, fights don’t last that long, and when people fight there’s a lot more getting beat up and weary than we see often times in film. But this one made it so cool. I said, “Wow, here’s something that teaches me how to do this in a new way, something that teaches me how to perfect the idea of action.” I think it’s one of the best action films. Hands down."

"I can’t believe how the genius of Sacha Guitry is misunderstood outside the borders of France. He is actually one of the most important figures in the history of French cinema, on a par with the greatest. I suspect he has this marginal status because when he started making films—the minute you could record sound—he was already a middle-aged ultra-recognized, ultra-successful figure of the stage. His style owes nothing to the silent era; he is the first French filmmaker, in a long line, who relies on language. But he was of course never content to simply record his own plays; he was obsessed with using the specificities of cinema to transcend them, and in doing so he pioneered a whole new language. Inspired by his wives—first Jacqueline Delubac, then Geneviève Guitry, then Lana Marconi, who most often had the lead—Guitry was the first French writer/director, and possibly the greatest. Désiré is a remarkable film. I wish Criterion would release Le comédien, a portrait of his father, the famous actor Lucien Guitry, and my personal favorite. Another misunderstood French director is Georges Franju, who’s mostly known for Eyes Without a Face but actually the author of a very consistent body of work, including Judex, a quietly disturbing poetic adaptation of Louis Feuillade’s serial."

"I can’t believe how the genius of Sacha Guitry is misunderstood outside the borders of France. He is actually one of the most important figures in the history of French cinema, on a par with the greatest. I suspect he has this marginal status because when he started making films—the minute you could record sound—he was already a middle-aged ultra-recognized, ultra-successful figure of the stage. His style owes nothing to the silent era; he is the first French filmmaker, in a long line, who relies on language. But he was of course never content to simply record his own plays; he was obsessed with using the specificities of cinema to transcend them, and in doing so he pioneered a whole new language. Inspired by his wives—first Jacqueline Delubac, then Geneviève Guitry, then Lana Marconi, who most often had the lead—Guitry was the first French writer/director, and possibly the greatest. Désiré is a remarkable film. I wish Criterion would release Le comédien, a portrait of his father, the famous actor Lucien Guitry, and my personal favorite. Another misunderstood French director is Georges Franju, who’s mostly known for Eyes Without a Face but actually the author of a very consistent body of work, including Judex, a quietly disturbing poetic adaptation of Louis Feuillade’s serial."