"Speaking of that, we must go to Blade Runner — true visual genius, and also in a class never matched. I saw it the first show, the first day, with a bunch of my friends. I can remember that because it was at the Cinerama dome in Hollywood, and it was on that huge screen with that incredible sound system. I still remember that great Vangelis music. But that opening — it’s embedded in my mind, that opening, with that scape of the city and its almost Mayan-like temple formation and those fires out of nowhere shooting up. Plus, Sean Young — that interview [with Harrison Ford’s Deckard] is unbelievable. I got a lovely letter from her last year. I worked with her on Cousins. Amazingly, amazingly beautiful. And of course it has the great Harrison Ford, and Edward James Olmos, and we could just go on and on with that movie. Daryl Hannah is great in it. And the doll guy, William Sanderson, who I got to work with on The Client — he played one of Tommy Lee Jones’ posse. One of the great things about my job is that I’ve been able to cast, sometimes, my favorite people."

"I was in college. I had the chicken pox so I had to stay in my dorm room. I wasn’t even sick. I had like two pox. Not like the rapper, but like two pox, and I had all this energy, and I was like [makes sick noise], and I watched Hannah and Her Sisters with two other friends of mine in the dorm that had already had chicken pox, so they could be around me. I’d never seen filmmaking like that, although, in high school, I watched New York Stories by Woody Allen, which I also was a big fan already, so I was like, “Oh, this is great.” I feel like Hannah and Her Sisters was just a beautiful film. Such a beautiful film. The work that he gets out of the actors… He casts these amazing actors, but then he gets these phenomenal performances out of them. There’s so much vulnerability in that movie that it just struck me. It was like an amazing artistic truck just running me over. I was already studying acting and knew I wanted to do that, but it really, really landed on me."

"I just recently saw Slacker, actually, within maybe the last year and a half. It definitely marked a certain bracket of youth at that time—and more specifically, Austin. But I love the way he captured this lackadaisical, lethargic driftiness, and conversations and characters and life. I love that trick where people are just talking and walking down the street, and then suddenly someone walks out to get something from the mailbox or something and the camera just stays with them and it becomes their story for a moment. That structure totally fascinated me. Even when I was in Seattle in the ’90s, that idea of people just hanging out, and you don’t even know what you’re doing, you’re just spending time with people and talking philosophy, but it’s not really going anywhere. You’re just talking about things to talk about things, and I really identified with that. I’m surprised I didn’t see it back then. I’ve walked around Austin and done nothing and just had some random conversations with strangers and that spirit still exists there, to a certain extent. It’s not what people who are productive members of society would say is a good way to spend time, but I actually think nowadays that’s kind of a premium. I would like more of that in my life at this point, because just the overstimulation and how much information is pouring in constantly is ridiculous and also kind of false. There’s this sense of urgency and importance that we have with time. And a lot of it has to do with technology and the culture that builds around that. But I think a movie like Slacker is hard for people to watch these days. Their attention spans are much shorter, and Slacker is the antithesis. Many of the movies in the Criterion Collection are atmospheric, and sometimes people are like, “I don’t know what to do with this.” But to relax into it and use that as an example of another way of existing, I think, is important. So Slacker both reminded me of a time period and also kind of reminded me of the importance of that way of being."