"My parents took me to see it in a re-release — it came out in the ’60s and they re-released it in the early ’70s — and I was only seven years old, so it totally blew my mind. My parents, I think, were just completely bored and baffled by it, but I was obsessed with it. It stuck in my head, and every time it came on television I would watch it, and I saw it again in the theater as a teenager; I would go to see it whenever they revived it. It was just a movie I’ve watched a lot. I think part of the reason is…when I was a kid, I didn’t know what to make of it. It was so unlike what I’d been exposed to on TV, or by watching Disney films in the theater. It was so fascinating to me. It has a really unique status, which is in my mind like a big Hollywood epic movie about esoteric ideas — which had never really happened before that, and I don’t think it’s going to happen again. No one would ever spend that kind of money on a movie that big, and with that scope, and be that strange and slow and oblique and unexplained. Some people, of course, think it’s incredibly pretentious; I think the ideas in it are really fascinating. That Kubrick meticulousness is incredible. But part of what makes it a great movie, I think, is that as it proceeds it turns into this really intimate kind of horror-thriller — with HAL — and when I think, “Who’s a great writer who wrote in that style?,” I think Edgar Allan Poe in outer space. It becomes this real, psychological, bizarre, unexplainable thing about a murdering supercomputer! Those are some of the most handsome, greatest, cinematic scenes I’ve ever seen, so the fact that it was attached to this esoteric thing… To me, it works on so many levels. And the design, and the use of music…there’s nothing else quite like it."

"""Alright, I’d say the first would have to be Goodfellas. I know that’s probably one you get a lot, but I remember it came out, and I was probably in about the 8th grade. Me and my buddy Dougie Thornel probably saw that at the theaters 30 times. I mean we would just go, and we would watch it, and then sit in the theater and watch it again. I can’t say enough good about it. It’s horrifying, it’s hilarious, it’s so unbelievably honest. Look, I mean, Scorsese is my favorite filmmaker. You know, the fact that I got the chance to work with him [on The Wolf of Wall Street] was sort of the mountaintop, the kind of crowning achievement of my career, and I don’t mean that in sort of how I’m perceived by the world. I just mean in terms of experience. My brief time on that movie really changed the way that I work as an actor. He’s one of these guys that makes you feel that anything is possible. I’ve studied in the Russian theater, and one of the main ways that we study was you get a scene and then you do a big improvisation about the scene and what the scene could be. That’s precisely how he worked. Each one of these scenes, you create this unbelievably vivid reality, you really take yourself to the place, and everybody feels like they are one hundred feet tall. It doesn’t matter whether you are background or whether you are craft services or anything, but everybody is so full of ideas. You make it on the day, and then he just sort of takes what he wants from that. I feel like that method of filmmaking that’s so Scorsese, so uniquely his, shines brightest in that movie. That sense of anything can happen at anytime, it’s happening right there in the moment. I think it really, really just shines brightest in that film, and that’s why it’s my favorite film."""

"I, on opening day, saw The Wizard of Oz — 1939, in Providence, Rhode Island. I even remember the theater, the Majestic Theater. Our dad [took us] and we slept in the street that night to wait for the first showing of it. And of course, just like everybody else on this planet, it’s made a lifetime impression on me. As a matter of fact, I think that H.R. Pufnstuft, which was our first television show, the whole feeling came from The Wizard of Oz. It wasn’t like it, but the story — with a boy instead of a girl, and all the characters and the trees and the witch — but we went in a whole other direction with ours. As a matter of fact, when the first Pufnstuft movie came out a year after we did the series, Time Magazine said it was “the next Wizard of Oz.” That was quite a statement. What else? Margaret Hamilton — as a matter of fact, I think the very last job that she had before she left us was in Sigmund and the Sea Monsters. She played the crazy lady next door who kept seeing the little monster and nobody believed her. She did two or three episodes for us. And the reason she wanted to do it? She wanted to meet Billie Hayes, who was Witchiepoo. She said Witchiepoo is the best witch; as a matter of fact, Billie Hayes met her at the airport and they became great friends. And the reason for being of Land of the Lost? In 1940 there was a movie called One Million B.C. Marty was just a couple of years old, and I was eleven. I had never seen a dinosaur moving; no one had. Only in our schoolbooks. I would take him to see One Million B.C. with Victor Mature… wow. That made a huge impression. It scared the hell out of me. Because, like I said, we had never seen a dinosaur moving before! And that idea gave us the idea to do Land of the Lost."

"I’m trying not to go the obvious route, but I do love Citizen Kane and I can’t leave that off here. It’s an incredible movie and the story’s told in this ingenious way and I never get tired of looking at it. It’s like visual fireworks and the sound is incredible — everything about it. But if I had to watch a movie that means something to me — and I did see it in my childhood — it’s And Now My Love by Claude Lelouch. It is a story told over the 20th century that is told stylistically as a history of film, so the film style changes throughout. It starts off in silent movie and goes through cinema verite and goes through everything. The gimmick is it’s the story of love at first sight and you follow two family lines through the couple meeting. It was very influential on me in many ways; it’s got a lot of the highlights and influences of European cinema. It’s about a criminal and a spoiled brat who belong together, and it also has a bigger thing which is that you’re learning the story of the 20th century. Its depiction in particular of the 1960s, definitely had an impact on me in terms of how to portray an intimate experience in the midst of history. I saw it in a second-run movie theater. All those movies were being released in the United States and they would end up on the weekend in double features and I can tell you right now, I was 12 years old when it was in the theater and I went back and saw it. It’s super-romantic. It’s got this incredible depiction of France and it’s got this great love story and it’s really ingenious. All the themes with reference to film style and film genre. One of the characters actually turns out to be a filmmaker. It’s incredible."