"I always come back to this idea of chaotic femininity or chaotic femme. It’s a discourse I have with some of my nerdier friends, like a standard for representations of women that we gravitate to and are driven crazy by. What Assayas does in this film, with the layers of fiction and reality, and representation of representations of representations, is similar to Mulholland Dr.: he interrogates this idea of the actress and the very idea of a character, and leaves you with a queasy feeling about what it all adds up to. What I love about this, particularly as embodied in Juliette Binoche’s performance, is the idea of a woman who is resigned to a downfall and is just fascinated to see how it all plays out. What is this thing that leads women with stable socioeconomic circumstances and certain amounts of privilege (in this case, fame and fortune) to self-destruct? It’s an endlessly fascinating question to me, and I love the way this film explores it. I also immensely enjoy seeing American stars like Kristen Stewart and Chloë Grace Moretz in this complicated, dark, serpentine French film. Those are some of my favorite performances by each of the three women. I love films about actresses; they always hit me right where it hurts."

"A Man For All Seasons is basically porn for people who love dialogue. Paul Scofield’s brilliant performance. Robert Shaw’s equally brilliant performance as Henry the VII. It’s always appealed to me. I was 13 years old the first time I saw it. Absolutely fell in love with it because it’s wall-to-wall language with compelling performances. And [it’s] about something to me, in terms that I was raised Catholic. So Thomas Moore’s decision to not sign the oath of succession appealed to me as I was growing up because this is a dude who’s martyred for his beliefs and whatnot. And people will always compare that movie to The Crucible for some reason. But I never felt the same connection to The Crucible because in that instance John Procter is just going to great lengths to try to keep his name. Whereas Thomas Moore went to great lengths to keep, what he felt was his soul, intact. By taking that oath it would’ve been selling out on his soul, it would’ve been lying. He couldn’t do it and I always found that insanely admirable and the life one wants to emulate to some degree, without being crazy Catholic at the same time."

"Probably everybody has that on their list. [Star Wars] came out and I just finished my sophomore year at CalArts. The May of ’77, saw it opening weekend at the Chinese Theatre. It worked in so many ways, but one of the things personally [that] was so inspiring [was] how it entertained an audience to a new level. I was there with a packed audience. I waited six hours. Towards the climax, when Luke is in the X-Wing and he’s going down the trench, I was just shaking I was so excited. And I’d never seen an audience so excited. First of all, it was everybody, from kids to adults, teenagers. Everybody was going crazy for this film. The quality of the storytelling, where it’s one foot in sort of the past and one foot in the future, I was so impressed by that. I came out and said, “That’s what I want to do with animation.” Many of my friends left animation [because of Star Wars] and went to actual special effects. At that time, animation was thought of just for kids. I saw this and said, “No, no, I want to entertain audiences.” That’s all I think about when I make my movies."

"Déclassé doubles being kinda a Ripley thing, The American Friend has a trashy yet seductive sister called Ripley’s Game, which, if you haven’t seen it, has John Malkovich and a very GoldenEye vibe. I watch both on regular rotation. But it’s really so wild that The American Friend is the older film, because where Ripley’s Game is like a classic Hollywood cash-in, The American Friend is a radical reinterpretation of the material. It says all the loud parts quiet in a way that deepens the pathos and significance of the Ripley cycle. Rather than being a social-climbing dandy, Dennis Hopper’s Ripley is a mumbling cowboy hipster—it’s maybe his most likable role. And Bruno Ganz’s Jonathan, who can so easily just be a pathetic sucker, is instead an existential hero. But for all its understatement and the arty languid pacing, when the film needs to be—as in the train scene—it’s as taut and calculated as Hitchcock. Oh man, and that stuff about the Beatles and Hamburg is so damn smart. It’s crazy that a director whose work is all over the place could produce a film so totally organic and emotionally satisfying. Honestly it’s not fair."