"I really love the enigmatic, haunting approach of this film—how it presents this all-girls boarding school, repressed and rife with secret undercurrents of sexual longing, that then ruptures upon colliding with the mysterious and raw natural world. It’s such a fascinating film to puzzle over, and I find it inspiring how the writer of the original novel, Joan Lindsay, by not providing a solution to the mystery and instead allowing the mystery itself to be the focus, upended narrative expectations and created something so beguiling and unforgettable."

"I think this one speaks for itself. I saw this after I saw Poetry. I wish more of Lee Chang-dong’s films were on Criterion. Song Kang-ho in Secret Sunshine is not the central performance, but he’s just so honest and raw and true. He’s this man who wants to be loved so badly. It’s heartbreaking. Director Lee really turns a mirror on you. I was raised very Christian, and somehow this film echoes the things buzzing in the back of my head. It’s nice to have someone make you not feel crazy."

"This is the other book I live by. It's fiction—a guy travels to find a secret book that has a series of principles. The story is a metaphor for life: I could go left or right, I could be stuck, or I could keep advancing. Some people are happy where they are. I tried to hire a guy once, and I said, "Don't you have ambition to be bigger?" And he said, "No, I'm good." I had to respect that, but for me that was the wrong relationship."

"Okay, I cheated, but it’s hard not to see these films as of a piece. Two perfectly wrought, drop-dead hilarious films about self-loathing, rage, and clinical depression. When Chas Tenenbaum says, “We’ve had a rough year, Dad,” or Max Fischer tells Herman Blume that his secret to happiness is “going to Rushmore,” the sneaky brilliance of Wes Anderson bubbles up through all the surface whimsy and blows a hole through your heart. If Sturges and Cassavetes had somehow managed to have a love child, it would have been Anderson."

"Okay, I cheated, but it’s hard not to see these films as of a piece. Two perfectly wrought, drop-dead hilarious films about self-loathing, rage, and clinical depression. When Chas Tenenbaum says, “We’ve had a rough year, Dad,” or Max Fischer tells Herman Blume that his secret to happiness is “going to Rushmore,” the sneaky brilliance of Wes Anderson bubbles up through all the surface whimsy and blows a hole through your heart. If Sturges and Cassavetes had somehow managed to have a love child, it would have been Anderson."