"I don’t know if it’s too early to say it, but I’m really in love with Creed. It made me cry… It touched me when Rocky was talking to Adrian and Paulie at the graveyard and he said, “Everything’s good. Bills are paid.” And I was like, ‘Wow.’ I loved his peace and his contentment. At one moment, you wanna take over the world, and the next minute, you just want the essentials. Him reading the newspaper there at the graveyard — it just felt right to me that he was finally content. I like the entire Rocky franchise and this brought it full circle for me. I love the Philadelphia theme and the music from Meek Mill. And instead of climbing to the top of a mountain, Michael B. Jordan was running with the motorcycles. He was doing the new things Philadelphia people are doing."

"When I graduated from high school, I worked at a video store in Philadelphia with an extensive selection of international films. La promesse became one of my first favorites because of the real, raw quality of the acting and the Dardenne brothers’ brave and unflinching look at racism and prejudice. When I rewatched the film recently, it felt especially meaningful given the ongoing plight of migrants around the world today."

"It's this live, spiritual thing from '66 - Alice Coltrane, his wife, and Pharoah Sanders is on it. It's just a really spiritual performance. At one point, he starts beating his chest and making Tarzan noises. This was one of the things I burned - that's more obscure, the others are more influential, but yeah, Temple University is in Philadelphia, so it was very close to home in that regard. There's a writer from Philadelphia, Francis Davis, I read one of his jazz books, I'm intrigued by that guy. I haven't met him but I really love his writing and he was there back then, he was going to Temple, he was at the concert, and he wrote a review that came in there. That's a great, intense live performance. I've always sort of been into the improv thing of feeling it in the moment spiritually, but yeah, I was listening to a lot of jazz records and it really opens your mind, just because they're all such real players. It's all live, it's not overdubs, it's just capturing a real moment of true feeling, especially when you've got the greats, like John Coltrane, or in this case, John Coltrane, Alice Coltrane, Pharoah Sanders, Rashied Ali and they're all just such heavy people, you know? It's unreal."

"I saw it when I was a young man in Philadelphia, and I became obsessed with R. Crumb. He reminded me a lot of my father—especially in the way he dealt with the weirdness of sexuality. And he was kind of depraved. Crumb is this beautiful portrait of this man teetering on the edge of madness, but Zwigoff makes him so sympathetic. Maryse Alberti does beautiful camera work that makes you feel like you’re in this guy’s world in a way that’s so intimate and lovely. After I saw it I spent all of my bar mitzvah money on Crumb comics, which was disappointing for my mother."

"In which Peter Falk and John Cassavetes play two broken goons who bond, bicker, and ultimately level each other during one rough night in Philadelphia. May made this just a few years after The Heartbreak Kid—a perfect movie, and one that I hope Criterion can add to its catalog someday!—and while the two films couldn’t be more different in terms of tone, they both zero in on a kind of self-defeating, self-aggrandizing male psychology that’s a little too relatable at times. And Falk and Cassavetes are so remarkable here that you can’t help but wonder which two modern actors would play these roles today."