"As someone who’s really passionate about what he does, I have a lot of opinions about documentary films. A lot of documentary filmmakers don’t really think about their films cinematically, and some documentaries almost seem like they were just copy-and-pasted like Microsoft Word documents. I’ve always loved how Errol Morris takes a wrecking ball to those conventions. His films are constantly exploring the idea of what a documentary is. His films tweak and twist reality, and they don’t just try to serve the audience digested ideas on a platter. If I had to pick a favorite, it’s his transcendent 1988 classic The Thin Blue Line, which recounts a murder case and then riffs and re-riffs on it like a Bach fugue. It was the first film to really use re-creation and reeneactment scenes in a new and highly cinematic way, both to explore a case and to challenge a viewer’s own bias and subjectivity. Nowadays, its approach and editing style loom over every one of these multipart true crime series and podcasts. The Thin Blue Line is almost like the influential band that’s been ripped off so often that new converts may not realize just how significant it is."

"And then, I guess, The Sting is the next one I gotta say. This was for me, and probably for a lot of people, at least of our generation, our first exposure to con men movies was from The Sting. It really holds up. Like a lot of the movies on this list, it holds up because of the central relationship, because of the Newman-Redford thing. Watching those two guys together, even though at this point, plotwise, I would be fairly… Well, I don’t know. I wonder, if someone saw The Sting clean for the first time today, now with all the movies that have imitated it in the years since, whether anyone would actually kind of say “Oh my God” at the end of it. I don’t know, but I don’t know that it would matter, because I think the fun of the film is in the game playing, and specifically in the way that these two guys play off of each other. It seems like something that’s particularly vulnerable, just because of the twist, the nature of the end. But like I said, that’s not really what makes the movie tick, oddly enough. It holds up just as a really fun ride."