"There’s a recent film, the Swedish movie Force Majeure. I just thought it was brilliant. I’ve been married for 17 years myself, and I thought the way he captured this relationship, all the tension, I thought it was amazing. And what I also loved about it in a cinematic sense was the way he shot it. The fact that he stays wide; he doesn’t do any coverage in the scenes. It took me a long time to realize that that was what he was doing. The way he blocked the scenes was so exquisite and so organic, if you will. If you go back, suddenly you go, “Oh my god, he’s just letting the scene roll.” There are very few cuts within the scene. It’s beautiful. I thought it was a great movie, and I thought I should put something recent in there. [laughs]"

"The last film I would say — and I could pick many of his films, but I will choose Woman Under the Influence, by Cassavetes. I could also have said Faces, or I could have said The Killing of a Chinese Bookie, or Husbands, or Minnie and Moskowitz, or I could have said Love Streams, but — today it will be Woman Under the Influence. I love the structure of it; its two-part structure — it really feels like a film in two movements. Arguably the two greatest performances of all time, between Peter Falk and Gena Rowlands. You know, it’s a home movie, and everything I’ve been trying to make are home movies — movies that take place inside the house and the family. I love the spirit of Cassavetes’ films, in that he’s casting his wife and his best friend in the roles, and his mother and her mother are in it, and the kids. To me it’s a movie that changes, too, throughtout the course of my life. I know the movie isn’t changing, I’m changing; but when I watch it the movie seems to shape-shift. I remember the first time I ever saw it I thought she was crazy; I remember on the 50th time I watched it I thought she was the only sane person in the movie and everyone else was crazy. I love that about movies that are made with a certain openness — that the audience can kind of participate in the imagination of the characters, you know; of their lives and of the story."

"I would probably say A Woman Under the Influence [for my fifth movie], although it’s a deep, deep tie between that and the movie Opening Night. And A Woman Under the Influence was, I think, more celebrated, but Opening Night might resonate more with me. It is a story about an actress coming to terms with aging and her mortality. I think I’m also really drawn to the way those movies were made, and you can kind of feel the hammer and nail that was used to bring the whole thing together in this way that’s sort of extraordinary and that you can just almost feel the effort made by everyone involved – which is what happens when you make any movie. But sometimes [it affects you] when you know that everybody’s friends were there and they’re all making food for people to eat while they’re making this movie, to make this movie, to tell the story, not to serve any bottom line, or anything other than their creative interests. [In Opening Night, writer, director, and co-star John Cassavetes worked with Gena Rowlands, his then wife.] You don’t always have that luxury. And I just am always very moved by the way they made their movies and what a family they were and what places they could go because of it, because of that intimacy, because of that ease and that history between them. They were able to do things that I don’t know that you could achieve or accomplish in any other fashion, you know?"

"Then I got into film school at the age of 17. Because I was young, the day I turned 18 my mother wanted me to see [Pier Paolo] Pasolini’s Salò. She said now you are old enough to see a precise portrayal of human cruelty. Maybe because my parents escaped Argentina during the dictatorship to avoid ending up in a torture camp like their friends ended up, she had a particular concern about the portrayal of human cruelty and torture. So she said, “You want to know how bad life can turn? Come with me and see this film.” And I saw it. And I know that movie stuck to my mind for, like, 12 years in a very precise, shocking way. And I never felt, for 12 years, the need to re-watch it. I said it was great to see it, but I was not ready to admit the perception of how bad people can be. It’s those very hot and cold — how do you say the people who study insects? -– entomologists. Sometimes you feel almost like an entomologist describing the life of ants. But the vision is sharp. The lesson is sharp. And also what I like about the movie is that, although the movie is about masters and victims, Pasolini — he’s not on the side of any. He’s just — like a dark situation, sharing the pain of one, or the dark joy, or the dirty joy, I don’t know. It’s almost like they’re above the character that they’re describing and they don’t identify with any particular one. You can also have that in The Battle of Algiers. But in any case, at 18, that’s a very major movie. I think nowadays that’s one of the very major movies in the future of cinema. It’s something strong that has not been copied in any way since. And that’s why, in my movie, I wanted to put Pasolini’s Salò poster above the bed, just to remind me that whatever I will do, my movie cannot shock, because of some people before us who made these extremely daring movies that really shocked their time. When people tell me I’m provocative I know that I’m not at all, compared to these masters of cinema."