"I love Das Boot just because it’s a real keen movie. But I’m doing this show, The Last Man on Earth too, and there’s this thing where [my character] Todd is kind of crumbling. He’s got all this stuff on his plate; he’s just kind of starting to fall apart a bit. And there’s this one scene in Das Boot, where one of the guys realizes he is going to die, just losing it. Something about this one actor — he’s able to convey every single bit of claustrophobia and fear, and man, he’s able to convey all that on his face somehow in a moment. Literally, I think the scene is probably about two minutes long, and you just feel everything, man. You know these guys are about a thousand feet underwater, and literally you take that ride with him. I think some of the performances are just so unbelievable."

"I love reading plays. Part of the reason I became an actor was that I would read one and think, 'Ah, it’d be fun to be in that.' Arcadia is about the discovery of certain theories of physics and math, but it’s also a love story — a sad love story — infused with ideas of early feminism and the Industrial Revolution. The action bounces back and forth between the early 1800s and modern times stylistically and smoothly. And the words are just beautiful. Stoppard has an amazing command of the English language. He moves the plot along in such a way that if you’re not paying close attention, you won’t catch the five or six things that are going on. This is probably my favorite play — it’s got this weird combination of excellent dramatic writing and math and science. It sounds kind of nerdy, but there you go."

"I think that — and it’s also related to the fifth one — growing up as a dancer I primarily learned to channel emotions through other parts of my body besides my voice, therefore when I watch silent movies I’m touched on such a deep level. To me, it was a form of acting that I gravitate towards. It’s so beautiful because it incorporates the body in such a way; your vocal chords have a great intonation but in reality it’s so much more, it’s about using the body, using the soul and all these things. So I love it. It’s such a technical movie that I learned so much from. But that’s just my approach as an actor. The storytelling was also very beautiful: the story about this box that they come to realize what’s laying in it is hope — that was a very beautiful message."

"Gus is the best. Idaho was one of the first movies with which I fell in love. I would watch it repeatedly when I was a teenager. River Phoenix gives the performance of a lifetime, original and inspiring. As a young actor, I needed nothing more than this performance for inspiration. The film is a collage of techniques, plots, and themes, expertly wound together as only Van Sant is able to do. When Criterion released this DVD with a film-length interview between Todd Haynes and Gus, it was a gold mine for an acolyte like me. There are also great old magazine articles, and an odd conversation with J. T. Leroy, before he was exposed. Mala Noche is Gus’s first film. He financed it with his own money. It’s a great early glimpse into many of the themes that continue to consume him."

"Gus is the best. Idaho was one of the first movies with which I fell in love. I would watch it repeatedly when I was a teenager. River Phoenix gives the performance of a lifetime, original and inspiring. As a young actor, I needed nothing more than this performance for inspiration. The film is a collage of techniques, plots, and themes, expertly wound together as only Van Sant is able to do. When Criterion released this DVD with a film-length interview between Todd Haynes and Gus, it was a gold mine for an acolyte like me. There are also great old magazine articles, and an odd conversation with J. T. Leroy, before he was exposed. Mala Noche is Gus’s first film. He financed it with his own money. It’s a great early glimpse into many of the themes that continue to consume him."

"First of all, [for something to be great] there’s magnificence in every single department. Whether it’s genre, whether it’s locations, whether it’s cinematography, whether it’s performances, whether it’s script, whether it’s sound – that’s number one. I saw Lawrence of Arabia in theaters. I’d been an actor for about a year and a half; I was under contract to Elia Kazan. I went to the movie and I was absolutely blown away. But the thing that blew me away more than anything else was that the guy did that. I mean this isn’t “once upon a time;” a guy did that. A guy wrote the book, Seven Pillars of Wisdom. He was there, he did it, and I don’t think he ever saw 40 years old. Excuse my language, but I’ve always been quite impressed with people that got s—t done. And he got stuff done."

"There was a really good film, and a film I really liked called Time After Time. With Mary Steenburgen, and she wound up marrying the British actor from Clockwork Orange, Malcolm McDowell. My wife and I both really loved the film. It was a great film, and then the fact that they got married in real life. They didn’t stay married, but they had a couple kids together, and I’d like to think that at least for that period, that was real… where life imitated art. Because it’s such a beautiful movie, a love story. Two people from very divergent, different worlds, and I know them both, Mary and Malcolm, and they are two people from very divergent worlds. That’s probably why the marriage didn’t work out. Yet, there’s something about that that I thought was kind of sweet. It was a really good movie, too."

"I love the first Godfather movie, part one. And two. Another great director, Coppola. And then of course, Marlon Brando, Al Pacino, Robert De Niro. I had heard the stories about how they wanted a whole other cast, and Francis was under the gun and he rose to the occasion. He got great performances out of Pacino, and De Niro was unbelievable. All the secondary guys from Joe Spinell to Michael Gazzo. The casting was impeccable. He got a lot of great performances from people who were just getting into the business themselves. Duvall, everybody had so many layers. The performance he got out of Lee Strasberg, who never really did much acting in front of the camera. When I was in the Actor’s Studio, the only actor that Lee actually spoke to was Al, so [Coppola] used the relationship that the two had and that was quite interesting."