"Day of Wrath, for me, is another kind of perfection. It’s mature themes for mature people. It’s about inquisition and war, and no wonder why, after doing that movie about inquisition during the invasion of the Nazis in Denmark, then he was recommended to move away from Denmark just to save himself and family. It’s a very cruel movie about a cruel historical time, but in which some people are put in positions that they have to behave cruel against others, and all the characters are changing. It’s very weird. Even the young girl who is very nice at the beginning, then she starts to turn to a witch, and you know that she’s going to die also, but the weak characters are touching. It’s a very complex movie in terms of the multiple faces that every human has in their life. You have the nice face when the situations are nice, and when the situations turn dramatic and there’s no way out, some people just become evil. What I like about Dreyer is he was studying movies about religion but from a very atheist approach. His movies are about the inside of humankind. It’s such a perfect movie. There are some movies that you see and you go, “Oh, I wish the music was different,” or “I wish the actor was funny,” but there are the movies that you watch over and over and see that there’s not one single frame to change. They’re perfect."

"It’s difficult to pick a Woody Allen film. In terms of my favorite person who’s been in a film it would be Woody Allen, so therefore it feels that I’ve got to pick a Woody Allen film. I think he’s the best performer that’s ever been in films, in a way; certainly sound-era films. Just his voice is the best voice that has ever been recorded, I think. Even if he had just been a writer of comic prose, he would have been one of the best writers of comic prose. His best films have so much life to them, and they’re funny. I know he often has a low self-estimation of them publicly, but Crimes and Misdemeanors, in terms of his feeling that he hasn’t made a film as good as Rashōmon or Bicycle Thieves — I think it’s definitely a film that could be held up with those films, really. It’s just very brutal, but funny as well. Just everything: the music, that professor and how kind of depressing it is, but how many great lines it has. And such a good cast: everyone’s really suited to his style. Not every actor is suited to being in a Woody Allen film. Seems like Owen Wilson is really suited to it [in Midnight in Paris], from what I’ve seen, in the same way that John Cusack was so good in Bullets Over Broadway. For me it’s just infinitely rewatchable."

"The next one, I think we got to go to Bergman. We go to go to Seventh Seal. Seventh Seal just knocked me dead. On many levels, it’s such a simple film. You’ve got Mary and Joseph, the young people with their little traveling theater, and then you’ve got the knight. I think it was the way he dealt with the Middle Ages and intrigued me with Death there at playing chess. Those were images that just stuck in my head. It was funny. When I was doing Parnassus, I went back and looked at it, because I was trying to remind myself what Mary and Joseph and their little traveling theater was like. I had forgotten so much detail. That was just a really important film, and Max von Sydow was something… The first time I had seen basically a non-American actor at work. He looked different. He behaved differently. Because, you know, I grew up with Dean Martin, Jerry Lewis, Doris Day, Rock Hudson — shiny teeth and beautifully combed hair and all of that nonsense. Something profound was going on in that movie without pointing fingers at anything. It just did it. The squire — that was Gunnar Björnstrand, I think — was just a great character, the cynic in the midst of it all. I remember when he was talking, when he was in this church, and all the frescoes are there, and it’s just profound filmmaking."