"Another movie I love is a movie called Claudine. James L. Jones is in that movie. Diahann Carroll is in this movie. Oh man, I’m not a big crier, but the movie resonates and just stays with me the whole time. You know what? I used to love some Diahann Carroll, brother. The movie was about a single mother who meets a guy and they end up falling in love. He takes on this whole family. She had like five kids, living in Harlem, with five kids, and this guy was a regular garbage man who had kids of his own. He was trying to balance his old life and the stress of being a father to his own kids. But at the same time he loved this woman, he loved her kids, and he wanted to do better for her. He wanted to be with her, but he just tried to work everything out. He ended up leaving her, and then coming back because he loved the kids, and they ended up getting married and all that kind of stuff. All the trial, the jubilation — it’s all about family and what they go through. The growing pains, you know, how the kids fell in love with him and they ended up looking for him, and he broke their heart. Claudine is a beautiful movie. I went at 13 years old, man. I was in love with Diahann Carroll at 13 years old. I don’t know if I could’ve stepped in those shoes and been a daddy to these little kids, but I loved her, she was a beautiful lady."

"Growing up on movies on TV, part of the Universal package was a very, very weird and creepy movie called The Black Cat. Which is ostensibly based on Edgar Allen Poe’s story, but wasn’t. It’s a devil-worshiping movie with Karloff and Lugosi, and it’s directed by a guy named Edgar Ulmer, who was a very promising European director whose career ran afoul of the fact that he slept with the boss’s niece or something like that and got, basically, blackballed by the major studios. But before he did that, he was able to make this very, very dark and very dreamlike horror movie, which only runs about 65 minutes. It’s an art deco nightmare, and it’s got all these very perverse ideas and concepts running through it. It’s like watching somebody else’s bad dream. It’s really a wonderful picture. I mean, Karloff has given better performances. The Body Snatcher is probably his best performance outside of Frankenstein, and that was on my list, but between The Body Snatcher and The Black Cat, I have to go with The Black Cat, because it’s so off-beat and kind of unique. There aren’t a lot of other movies like it. The interesting thing is, now these movies are actually available to see. When I was growing up, you had to wait until two o’clock in the morning on Friday; they were going to run some movie, and if you didn’t watch it then, they weren’t gonna run it again for another year and a half or more. And you’d fall asleep anyway, you know. It was so hard to see these things. You had to really seek them out. The Mario Bava movies, I had to go to the lowest dives, the crappiest grindhouses, to see these things, and often the prints were all beat up. But now, all this stuff is available, and it looks great. I just don’t think film lovers realize what a paradise they’re living in right now. [laughs] For those of us who really had to go the distance to seek these things out, it was really quite arduous."