Terry Gilliam

“Look at this, there's two Rififis. There's one I bet is a Blu-ray and one is a...”

“Look at that, and it goes 8½. I have a lot of these already so I can't touch them. 8½ is, you know, this is the film that is the first film that really convinced me that's what a film director, what his life and job is about. People like Truffaut made Day for Night, which is a wonderful film, but it's a lightweight version of what a director's life is. Having now made films, I realized the honesty and the truth of 8½ more and more.”

“And here is the film that completely changed my view of what films are about. It was a Saturday matinee in the San Fernando Valley. I was about 13 years old and this film came on and it completely changed my life because I fully realized films are about justice, injustice, the rights, the wrongs of the world. The tracking shots are all my homage to Stanley and those wonderful shots going through the trenches. First time I'd seen a film that I was aware of the camera.”

“Look next to Brazil. Yojimbo, yes!”

“Here's a Tati complete, mine. This is my Revenge on all the great talents because I can do what I want with their work and they're not in the closet with me.”

“When I saw this Bergman stuff here, which I'm going to take. Oh, this may break my back, but I'm going to put it in here. When I made Brothers Grimm, there was Bergman, one of my great heroes. Seventh Seal, Wild Strawberries, they all were wondrous films. Everybody assumes Ingmar Bergman is a very serious, solemn man and Peter Stormare said, 'No, Ingmar, we laughed the whole time.' And that I thought, oh, maybe I can do this kind of work. You can have fun and direct.”