"Here’s another one I really like. I really like the relationship and the acting in a movie called The Dresser with Tom Courtenay and Albert Finney. Albert Finney is an aging Shakespearean actor who’s falling to pieces in his mind, and Tom Courtenay’s whole career depends on dressing this guy and he’s the only one who can get him through the show. You see all the people who depend on this guy to be able to do it, you know, in order for them to have their lives, and how important the theater is to them. I’ve always really been into the theater, even before I was an actor. And I love Tom Courtenay."

"When this movie came out, I went to see it again and again. It was probably the last movie that I saw in the theater more than once during its initial release. I knew nothing about it going in, and coming out mostly what I knew was how happy it made me feel."

"Understanding the screening room as a space where an immersive experience can happen, through the expansion of colored light that emanates from the screen. We are flooded in blue for 80 minutes. It is a unique trance. We come out of the theater transformed, each viewer with a different type of blue inside."

"I worked hard at German so that I could read Brecht, but was saved by watching his plays performed live at Mannheim by an excellent company. However, it was Marc Blitzstein’s 1954 translation of Threepenny Opera in a tiny theater off-Broadway that electrified me with “Mack the Knife” and “Pimp’s Ballad.”"

"Another all-time favorite would be Cuckoo’s Nest, which was particularly interesting from my perspective because a year or so before the film came out, I had seen the play. I was in college, and I was studying music. I wasn’t into acting or theater or any of that at the time, but a friend of mine was in the play, in a little black box production of the play at the theater department at the University of Montana where I studied music. And I went to see it, and it was, in many ways, an interestingly cast production, but it was brilliant. It was one of the first pieces of theater I saw that had that, you know, that real raw kind of Steppenwolf vibe that really blew me away. So when the movie came out, I kinda felt like, “You know, I don’t think I want to see this movie,” because the play was really so well done. But then I saw the movie, and obviously, [director Milos] Forman and the entire cast, down to people that didn’t even speak on camera, that movie was just so wonderfully done."

"Guess Who’s Coming to Dinner was the first sort of grown-up movie that I remember seeing with my parents, and if I’m not mistaken, I think it was at a drive-in theater, which half your audience doesn’t even know what that is. And that was like an odd movie for the drive-in."