"I’d like to say that the television version that’s longer is better than the version that was in movie theaters. Bergman’s my favorite filmmaker, if I had to choose. It’s very much a culmination of most of the themes and motifs of his career that appears as a physical personification in the very beginning of the film, similar kinds of ghosts that Bergman explored in the past. He has his love for the theater and puppetry and there’s moments of hope and joy, but it also just reminds you that humans have certain demons that they can’t ever escape. It’s really rich and it touches on so many things about what it is to be human that it’s really quite remarkable. And as with every Bergman movie, there’s not a moment of bad performance to be found. But I think that the first episode, if you were to watch the TV version, is just Christmas with a family. A long episode of getting to know a family at Christmas. And I was talking with [Home Alone director] Chris Columbus about Christmas in movies and he was explaining how it’s just a time of heightened emotions for everyone. So that’s a really clever way to learn about this family and all of their dynamics super deeply, by beginning at Christmas. And the first time you watch it, you’re kind of like, “Where is the story? What is this? This is just Christmas.” And then the next episode, the plot begins but you’ve gotten to know this family incredibly closely and so then you’re just so invested with them through the rest of the film. Also, like The Lighthouse, it has some fart jokes."

"This is my favorite movie of all time, and the only one that I watch on an annual schedule (Thanksgiving) other than A Muppet Christmas Carol (Christmas). I first saw it on that holiday, and the experience was so meaningful that I suppose I’m always trying to recapture it. Coincidentally, on Thanksgiving my family used to travel to West Virginia, where the novel’s author, Davis Grubb, was from, and where the book is set. Grubb arguably doesn’t get enough credit for the look and feel of the film: I can’t really think of a movie that is more faithful to the tone and even letter of its source, and Grubb also essentially storyboarded the film. It’s such a rich parable of good and evil, and a boundlessly profound exploration of intangibles like innocence, loss, deceit, and the yearning to be loved. Although terror is a central theme, it’s ultimately a very comforting film."

"It’s very hard for me to pick a favorite Douglas Sirk movie, but ultimately it’s this one, a sumptuous tearjerker with Sirk’s signature cultural critique. The moment when Jane Wyman, after sacrificing her own happiness for her children, receives a television set as a Christmas gift in lieu of their presence shatters me every time. No one understood melodrama like Sirk, or how to sharpen it into the dagger it’s meant to be."

"And then finally I love… [long pause] Can I think about the last one? [Breslin’s mother intervenes: “For sentimental reasons the one you always loved was Prancer,” she suggests, laughing.] Oh yeah, I loved Prancer. Oh my god. [Laughs] I actually, really— okay, yeah, I’ll put that. So that movie, for sentimental reasons, and just because I still love it. It still has to be watched every Christmas. [Mom laughs in the background. ]"