Theodore Witcher

“Right now I'm holding Jules and Jim, which I'm taking. The first time I saw it, when she's walking with the other two guys and they're involved in a conversation amongst themselves totally ignoring her, and because she doesn't like that, she just out of Nowhere jumps into the Seine. I was like, 'Oh, now I'm interested.'”

“Oh well let's just, you know, in the interest of being like fully completing, let's take Rules of The Game, shall we? Right, it's one of those things, it's a film school thing, you know what I mean?”

“Notorious, Hitchcock's Notorious. I think it's a masterpiece. Grant falls in love with Ingrid Bergman in like a shot. They're in Rio and there's like a scene on a hill and that's the movie going, 'Okay, they're in love now, can we move on with the story?' I'll give you one scene where they fall in love and then we're moving on with the story and the audience just accepts it. Whereas now you could never do that.”

“Blind Chance, I think I have, but I'm taking it because it's Kieślowski's last one. And as long as you have the Dekalog and Red and perhaps Double Life of Veronique, as long as you have that, you're good.”

“Deep Cover, now this was a movie that was very influential to me. I love Fishburne in this movie, I love his Performance. He's so commanding and spare and charismatic as this guy. It's a real movie star Performance and there's some elements in here that I actually stole from for Love Jones. The sort of toast poetry, kind of like Iceberg Slim kind of toast poetry in the voiceover of this movie, I nicked a little bit of that.”

“And then it would be nice to come back to the Ozu, now that I'm way older than I was in film school, and see how I feel about it. That'd be cool.”

“Some of this stuff is what is fresh to me, like these Bergmans are fresh to me, so that's exciting.”