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The style that Wong Kar-wai and Christopher Doyle forged together in this period was a reminder that there were new styles (and colors and speeds) the medium had yet to experience

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 For the way Bresson strips away cinema to get to its essence

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What I would I have to say, if asked to name my favorite final film by a great filmmaker.

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Ask me who among the young filmmakers impresses me the most, gives me the most hope.  Ryusuke Hamaguchi is at the top of the list.

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 I could choose 10-15 Wiseman films.  No one takes a deeper look at America.  

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I've read where you're supposed to be more in the Chaplin or more in the Keaton camp. I'm equally in both.

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 For the way Reichardt uses one of cinema's greatest weapons, silence.

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For me, it's the most moving male/female platonic relationship the medium has ever given us.

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After Renoir, I think Pialat captured the French as well as anyone.

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One of the directors who can achieve unique cinematic rhythm and grammar with his work. The first that I saw. I see them all.

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My first discovery of film noir. There was an unfiltered and unflinching honesty about it that made me want to be a part.

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The first Carax film I ever saw. It was 1996 or 1997, I was living in Montpellier, and Carax's ability to make film feel like poetry was unlike anything I had seen since first discovering Godard.

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I remember first seeing this as part of a German Film Series in college and being most struck by its imagery. It was only later that I realized Robby Muller shot it as well as probably ten of my other favorite films.

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