"This is the single most underrated film of the entire French New Wave. Its near obsessive tracking of Maurice Ronet through the wet Paris streets as he retraces the steps of a wasted life makes for one of the most tightly focused of the era’s film portraits of a desperate man at the end of his rope. Its slow build toward an inexorable end is Louis Malle’s most nuanced work—this from a director who was already noted for his almost classical discipline. Ronet, until then largely thought of as a lightweight romantic film actor, surrenders himself to the downhill yet strangely transcendent fate that awaits him on the mirror of his room."

"Carey is one of my favorite writers. The first book of his I ever read was a collection of short stories called The Fat Man In History. He also wrote Oscar And Lucinda — a beautiful story — which was turned into a film that I made. In Kelly Gang, the narrative voice is so unique. We Australians all know that outlaw Ned Kelly was hung after the famous shoot-out in 1880. But what Carey does is get inside his character's mind in such an illuminating and heartrending way. And there's not a trace of sentimentality in it. I so admire that as an actor, because I realize how difficult it is to do."

"For some reason, Maurice Pialat doesn’t get the same attention here in the States as his contemporary Cassavetes. But I feel he deserves just as much. Without this film, we wouldn’t have Sandrine Bonnaire, and the complexity of the family dynamic is like nothing I’ve ever seen before on film. I’m proud to be neighbors with Tom Stevens, the actor who played the young American tourist. We were speaking in our New York City apartment building stairwell, and Tom told me that he had been in “a little film that you probably never heard of called À nos amours”—I nearly fell down the stairs. The extras are fantastic on the release, including an interview with Catherine Breillat."

"What else do I love? Well The Sound of Music is what, I think, made me wanna be an actor. I was so young when I saw it. I wanted to be one of the Von Trapp children. [laughs] It’s what started my love of music, singing; the whole thing. Any time it’s on I get this sort of “home” feeling. It’s one of those things, when it’s on, I feel guilty changing the channel. You get sucked in. And it holds up, too. When I went with my mom to Italy, we took a trip to Austria to go specifically on The Sound of Music tour, when I was 12 or something. [laughs] So that’s one."

"It seems I’ve been watching Children of Paradise all my life. I remember taking my son to see it when he was seven. When I was trying to convince Brando to play Garrett in Pat Garrett and Billy the Kid, he told me that, along with the master swordsman in Seven Samurai, the thief in Children of Paradise was the greatest performance on film. I came to Port of Shadows much later in my life, and the Criterion transfer really enhanced its beauty. Jean Gabin became a prototype for me of a kind of actor difficult to find today. And the dialogue inspired me to attempt to re-create its poetic realism."

"It seems I’ve been watching Children of Paradise all my life. I remember taking my son to see it when he was seven. When I was trying to convince Brando to play Garrett in Pat Garrett and Billy the Kid, he told me that, along with the master swordsman in Seven Samurai, the thief in Children of Paradise was the greatest performance on film. I came to Port of Shadows much later in my life, and the Criterion transfer really enhanced its beauty. Jean Gabin became a prototype for me of a kind of actor difficult to find today. And the dialogue inspired me to attempt to re-create its poetic realism."