"It’s German expressionist film directed by Fritz Lang that broached pedophilia. Peter Lorre played a crazed madman who killed and molested children and all kinds of other stuff, and there was a child playing with a ball in one scene when she meets Lorre’s character. Even more horrific than anything else after she disappears, the camera shows the ball rolling down a hill until it finally stops moving. Your mind takes over, and does much more horrific things then the screen can. I think being obvious and throwing blood and guts at the screen is stupid.”

"Bill Foege is one of my heroes. Among his many accomplishments, he was instrumental in ridding the world of smallpox, which is still the only human disease ever eradicated. This book gives you a great view from the front lines of that battle. Bill was a mentor to Melinda and me in the early days of our philanthropy, and he continues to give us great advice today. I also recommend his deeply moving Gates Notes article about fighting river blindness. It’s a fantastic story that gives you real insight into how he thinks about his work."

"Kiarostami’s film opened a door wide open to a different kind of filmmaking. It’s playful, humane, deeply respectful and ethical—completely alive. The scene where Sabzian interrupts his own trial, which was re-created for the film, to explain why he did what he did, is extraordinary, and the final freeze-frame is enormously moving. I feel inspired by Kiarostami’s practice. He jumped onto this project in the middle of making another film, and he turns the exigencies of filmmaking to his own poetic advantage (like when the sound drops out during the final motorbike ride)."

"This film traces the evolution of flamenco, from its origins in India through Egypt, through eastern Europe to the west – “latcho drom” means safe journey. The director is Romany himself, and there’s no narrator, so the story is told through song and subtitles with no contrivance at all. You feel properly immersed in new worlds as a result – I play flamenco, and you feel the echoes of ancient traditions in it, but this is something else. The most powerful scene is of three women singing on a hilltop about how they’ve been disenfranchised. It’s unbelievably moving."

"The Royal Tenenbaums. The style of the movie is so brilliant, and it just had so much character and intrigue, and the characters are all so specific, and funny, and heartbreaking, and as heightened as the world is, everybody’s so grounded. There’s just so much going on in that movie, and it just keeps moving. When you sit through it, you’re never bored through any of it, and I just think that [Wes Anderson] is one of the best directors of all time. I love pretty much everything with Bill Murray in it, so yes, that would be the first one."

"George is quite stuck as an artist, and he feels like he’s having a hard time finding inspiration. And the character of Dot comes to him and sings, “Stop worrying where you’re going, move on/ If you can know where you’re going, you’ve gone /Just keep moving on.” It’s absolutely the truth. And the specific lyric that breaks me up every time is, “Anything you do/ Let it come from you/ Then it will be new/ Give us more to see.” That is an artist’s credo. That, to me, is like a Bible verse that I return to over and over."

"It’s a French movie, pretty recently that I just – and I’m not alone, it was, like, the biggest movie of the year around the world – but I just love it so much. It’s so great. It’s about a friendship between two guys: one who is a super rich guy who is a paraplegic and his caretaker, and the friendship that comes of that working relationship. It’s funny, it’s real, it’s sweet, it’s moving. I cried, l laughed — it’s just a brilliant film. And I’m not surprised it did as well as it did. It’s so good, it’s so good."

"I was so caught up in that book and when I got off the bus I was beside myself. The book just wrecked me. I was like twenty-four years old. All that stuff with the tiger. People have a lot of opinions about Conroy, but that book is very, very moving. I remember being incredibly upset and moved and I had to go to work in two hours. It screwed me up so bad. All I could think about was this damn book, and I had to play this impressionable kid who could really give a shit about reading books."

"I could never write the way Colette did. I’ve never found anything to match her descriptive passages, ever. She was a very sensual writer, and way beyond her time. Chéri is a love story between a very spoiled young man and his mistress who has “been there, done that.” He’s self-centered and vicious, and she ultimately turns out to be very noble. The final scene is incredibly moving; it makes me cry. I absolutely bow to Colette, but I think if she could hear me, she would probably tell me where to get lost, because she was that kind of woman."