Cate Blanchett and Todd Field

“Have you seen Dheepan? He's so great with kind of societal entrapment, it's really great. I've never seen it, I'd love to see that.”

“In Cold Blood. Well, I remember reading that at school, the book. Connie Hall, the photography is so incredible. You've never seen this? No, because I've read it. Oh no, no, no. I know, I know people have said, you know, when you love a book so deeply, I read it so many times at school. I know, you have to see it. Yeah. Okay, well, you have to take that then. I'll take that. You have to take that.”

“This is a great film. This is Carl Franklin's film and this is, I worked with Carl, I did three times with him and this was his first sort of movie where he, he got to do what he wanted to do. Devil in a Blue Dress. This is Don Cheadle's first real kind of coming out as an actor.”

“Raymond Bernard. Don't snatch. No, no, have you ever seen it? Ever seen Wooden Crosses? One of the greatest war movies ever made, World War I. I think Kubrick probably looked at it before he did Paths of Glory. Oh, okay.”

“The Ascent. That has to be owned by every single human in the world. Have you ever seen it? Larisa Shepitko, it's one of my favorite. No, I've never seen it. It's so beautiful. I mean, it's unbelievable, she's like literally inventing shots, but what you know, what it does between these two soldiers who are trying to escape the German forces, the way it's shot, the way you're left with, what you're left with at the end, it's, it's absolutely heartbreaking. You can't unsee that.”

“Oh my God, Tootsie's here. Yeah.”

“Are The Cranes Are Flying? Oh my goodness. 146, Cranes Are Flying. Cranes Are Flying, that you know, I mean the famous stairway shot, you know this shot, right? Yes. No, it's just incredible, Cranes Are Flying.”

“My Winnipeg. Where is that? But have you seen My Winnipeg? Yes. No, no, I've never seen that. I wanted to see that. That he shot that in black and white, I think, right? It's, it's a very dreamy imagery. I remember seeing an article in American Cinematographer. Docu-fantasia, that's a really great way of describing it.”

“Have you seen Letter Never Sent? Of course, that, that, how could you possibly do that without it? It's impossible, it's impossible, yeah.”

“Have you ever seen Summer with Monika? Yes, yes. This is what, it's the greatest close-up, the greatest close-up in film history is in this movie. It's, which one is it? That's a little bit, no, no, it's the greatest close-up, it's a great, it's, it's Harriet Andersson. They come back from the island and now she's with these older men and Bergman has the camera and it's on her and she's talking, she's just listening to this guy kind of yammer on, you know, that he and he sort of he's taking care of her now and she's smoking like this and she's smoking and she's smoking and she's smoking and, and she's facing this way and then the camera comes in and then all of a sudden she just turns and she looks in down the lens and just go, oh wow, there's a slight lighting change, it just, oh, it's like the most monumental close-up. Okay, okay.”

“That's a, how is it, where, okay, why? Grave robbing, torture, possessed nuns, and a sadistic Sabbath. It's up, right up my alley. That's exactly, possessed nuns.”

“Have you seen A Man Escaped? About the guy who tries to escape? No, who's getting out. It's very little, very little dialogue at all.”

“They filmed A Master Builder. I didn't know they did that. Well then, because I, I, because I'm so slow as an actor, I'm always interested, you know, when you, you've lived something, oh thank you, you've lived something on stage and you, you kind of, you, there's no membrane between you and the understanding of the world and then you find another way to do it, it's sort of, I always feel it's, it's a really great way to work. Oh, okay, that's got A Master Builder in it.”

“How about My Dinner with André? Oh, that's great. Oh, okay, that's got A Master Builder in it. André left a message on my, on my answering machine in 1992 that I've had to have. He's got one of the all-time greatest voices.”

“Which, which would you rather have? This is not, no, no, I think the Bergman. Okay, we can decide later. I'm just your sherpa then. Yeah.”

“Which, which would you rather have? This is not, no, no, I think the Bergman. Okay, we can decide later. I'm just your sherpa then. Yeah.”