"I’m a big kid, I’m a kid at heart, so I still love the classic family films, such as the great Warner Bros film Willy Wonka and the Chocolate Factory — not the remake, but the original. It’s still one of the best movies, hands down, ever made, and of course that goes back to the ingenuity of the characters and the storyline. [Producer] David Wolper did such an amazing job bringing it to life, and Gene Wilder gave such an amazing performance. The songs, the music, the colors, the scope — it was just brilliant and really lead you to a fantasy world that didn’t exist, but that we could all imagine was real."

"An old French film with Simone Signoret, and I think Paul Meurisse is in it. It’s the film that terrified me as child, with this very simple scene where she pulls a curtain back in an upstairs window, and he’s watching from the yard. That was actually probably the first horror film I ever saw. It was a very scary. I was a small child. I just remember the simplicity of that moment when she pulled that curtain back. So there’s that, and they did the remake with Sharon Stone that was not very successful and wasn’t very well made."

"I don’t really understand Ozu, and I probably never will, but if this is what not understanding feels like, I’m okay with that. It’s hard to single out a movie, because so much of the impact of Ozu’s films has to do with their cumulative relationship with each other, so I chose three by gut: Late Spring, because the shot of Chishu Ryu peeling the apple is the peak of all of Ozu and maybe all of movies. There Was a Father struck me as (deceptively) subversive for a film made during the war, and its central father-son relationship is especially tender. Good Morning, a sort-of remake of Ozu’s own I Was Born, But . . ., is very funny, and a good reminder of his wonderful schoolboy sense of humor. (I remember reading or hearing someone observe that the farts in Good Morning don’t really sound like farts but more like the refined Platonic ideal of farts."

"I don’t really understand Ozu, and I probably never will, but if this is what not understanding feels like, I’m okay with that. It’s hard to single out a movie, because so much of the impact of Ozu’s films has to do with their cumulative relationship with each other, so I chose three by gut: Late Spring, because the shot of Chishu Ryu peeling the apple is the peak of all of Ozu and maybe all of movies. There Was a Father struck me as (deceptively) subversive for a film made during the war, and its central father-son relationship is especially tender. Good Morning, a sort-of remake of Ozu’s own I Was Born, But . . ., is very funny, and a good reminder of his wonderful schoolboy sense of humor. (I remember reading or hearing someone observe that the farts in Good Morning don’t really sound like farts but more like the refined Platonic ideal of farts."

"I don’t really understand Ozu, and I probably never will, but if this is what not understanding feels like, I’m okay with that. It’s hard to single out a movie, because so much of the impact of Ozu’s films has to do with their cumulative relationship with each other, so I chose three by gut: Late Spring, because the shot of Chishu Ryu peeling the apple is the peak of all of Ozu and maybe all of movies. There Was a Father struck me as (deceptively) subversive for a film made during the war, and its central father-son relationship is especially tender. Good Morning, a sort-of remake of Ozu’s own I Was Born, But . . ., is very funny, and a good reminder of his wonderful schoolboy sense of humor. (I remember reading or hearing someone observe that the farts in Good Morning don’t really sound like farts but more like the refined Platonic ideal of farts."