"""Alright, I’d say the first would have to be Goodfellas. I know that’s probably one you get a lot, but I remember it came out, and I was probably in about the 8th grade. Me and my buddy Dougie Thornel probably saw that at the theaters 30 times. I mean we would just go, and we would watch it, and then sit in the theater and watch it again. I can’t say enough good about it. It’s horrifying, it’s hilarious, it’s so unbelievably honest. Look, I mean, Scorsese is my favorite filmmaker. You know, the fact that I got the chance to work with him [on The Wolf of Wall Street] was sort of the mountaintop, the kind of crowning achievement of my career, and I don’t mean that in sort of how I’m perceived by the world. I just mean in terms of experience. My brief time on that movie really changed the way that I work as an actor. He’s one of these guys that makes you feel that anything is possible. I’ve studied in the Russian theater, and one of the main ways that we study was you get a scene and then you do a big improvisation about the scene and what the scene could be. That’s precisely how he worked. Each one of these scenes, you create this unbelievably vivid reality, you really take yourself to the place, and everybody feels like they are one hundred feet tall. It doesn’t matter whether you are background or whether you are craft services or anything, but everybody is so full of ideas. You make it on the day, and then he just sort of takes what he wants from that. I feel like that method of filmmaking that’s so Scorsese, so uniquely his, shines brightest in that movie. That sense of anything can happen at anytime, it’s happening right there in the moment. I think it really, really just shines brightest in that film, and that’s why it’s my favorite film."""

"I think the greatest film of all time. It doesn’t even care about anything. It has the best MacGuffin. The audiences in the west — if you’re going to transfer somebody from one place to the other, you want to spend all the money on the big gadgets that do all of the — as Monty Python says “the machines that go BING” kind of stuff. Whereas in La Jetée, just two guys lie down on a hammock, they drug intravenously, and they go, “Voila! We’re in the future.” I just love that. It’s just a Macguffin in a different culture, the different time — they’re used to different things. And for me, having traveled a lot, I always have to find out — when you show a movie to people they just say, “Would you buy this?” That’s one of the reasons you have origin films — like Superman or whatever — that takes so long in the west whenever you start to originate one, because you have to set up that this guy can fly because he is from another planet, has a nemesis, you can make him grounded when you give him kryptonite, and all that stuff. You watch a Hindi movie, and they just say, “Hey this guy can deflect a bullet with his ring because he is [Indian film actor] Amitabh Bachchan, so next question.” Literally, it is all about what each culture takes — to take as a MacGuffin and where they want the money spent. And La Jetée just doesn’t care. It’s got the greatest story and the movie — the images don’t even move except in one particular instance — I don’t want to spoil it for someone who hasn’t seen it. But it is just one of the greatest. It was made the year I was born, I was obsessed with it forever and when Terry Gilliam made 12 Monkeys I knew it was done."