"If I had to do my top 100 movies I think 15 to 20 of them would be Woody Allen movies. This is the toughest one for me to do because the instinct is to say Annie Hall, because it’s undeniably, I think, perfect — in terms of comedy, romantic comedy specifically. It’s one that, the older I get, I feel like I continue to grow with, and I check in with it every once in a while. Depending on where I am in my life and the relationships I’ve had, I can always glean something different from it or recognize some truth in it that I’ve experienced or yet to experience. It changes every time. If I were like an evangelical, crazy born-again it would be my Bible. It’s like having an old sage friend who you don’t see very often, who’s tremendously neurotic. I also relate to him so much just as a neurotic and an over-analyzer. I fell in love with him in junior high school when, you know, you’re going through your formative years and you’re realizing certain qualities about yourself. So when I was introduced to Woody Allen it was such a relief. He made me feel like it was okay; not only could I function with neuroses but I could thrive. And certainly with women you go through so many relationship questions and struggles and it’s just nice to know someone can take all of that and create entertainment and mine those life transitions for such comedy. There’s a lot of solace in that. But I also love him on a simple comedy level — I almost love his physical comedy and his slapstick as much. So if I had to pick just one, I would say “Every movie he made in the ’70s.” [laughs]"

"This one — they’re just kissing cousins, really — but the last Paul Newman film I’ll talk about is Hud — just the greatest introduction to a character maybe ever on screen. You’ve got this goofy kid walking around town and he walks past the bar, and there’s glass on the sidewalk and the bar owner’s sweeping it up. And the kid goes, “Did you have trouble in here last night?” “I had Hud in here last night.” Such an awesome way to introduce the main character of this film. When you first meet him, he’s walking out of this married woman’s house putting his boots on and the husband pulls up, and he immediately blames his nephew. It’s this really incredible thing. I was lucky enough to work on a college professor’s documentary called The Rough South of Larry Brown. Which is about the writer Larry Brown out of Oxford, Mississippi. In that documentary Larry Brown talks about his writing, he says, “Yeah, you read my stuff and you read a little bit and you might think it’s pretty funny. And then you read a little bit more and you realize, it’s not funny worth a damn.” And that’s Hud. You start it off and you’re like, “Gosh, look at this rapscallion, this character,” and then you realize, “Wow, that’s not funny; there is some deep stuff inside that man that is hurt and angry, but is manifesting itself in very evil ways.” The complexity of that — it’s different than Newman’s character in The Hustler. In The Hustler, he’s doing pride, but there’s something deep going on in Hud that’s darker. It’s more about family and legacy and things that I think, because it’s attached to the family, I relate to very much. I had to deal with familial relationships that are complex."