"A corporation struggling to define itself in a fickle and rapidly evolving marketplace is determined to enter a race it has no hope of winning. It turns to a team of passionate, obsessive, hands-on experts in old school methods and, with great trepidation, lets them run. The result is “Ford v Ferrari” — a film that is essentially about the same thing. Director James Mangold demonstrates that a good tale well told, with character and heart and friendship at its core, will never go out of style. That personal stakes can be just as gripping as global ones. That elegant, straight-forward emotional storytelling is a universal language. It’s no small feat to take viewers into a complex and insular world bordering on the religious and, in remarkably short order, invest them in its technical complexities. It isn’t easy to immerse an audience in a story about friends competing more with themselves than anyone else. It’s incredibly hard to create satisfying characters who, by their very nature, can never hope to find satisfaction. And it’s next to impossible to do that in today’s marketplace. Mangold does it. Even a passing glance at his ongoing evolution as a filmmaker gives an indication as to why. James Mangold is, much like his protagonists, determined to grow, evolve, outdo himself and run the perfect lap. He does so knowing he’ll never truly find satisfaction. But his audience always will."

"My fifth film — it’s the movie that literally got me wanting to make movies to begin with — is the David Cronenberg film Scanners. When I was a kid, I was a little weird kid, and I loved horror films, I loved gore films. When Michael Ironside made that guy’s head explode in that movie, I was like, “Whatever this is, I want to do this!” I was ten, eleven years old, and my parents would take me to see these. Like, I saw The Exorcist in movie theaters; I saw The Evil Dead in a movie theater. I went to see all this crazy, freaky s*** that you would never take a little kid to see today. But I saw Jaws in a movie theater. Like, I wanted to see all these scary movies, and my parents were like, “Absolutely. Let’s go.” And so here I was, as a teenager, learning how to make my own blood, and my own scars and wounds. I wanted to be Rick Baker or Tom Savini. When I was a kid, that’s who I looked up to. When I saw An American Werewolf in London, it was phenomenal, to see all those makeup special effects they were doing. And then when I went to high school and learned you could actually go to college to study film and learn how to make movies, I was like, “I’m in. That’s exactly what I want to do.”"