Sean Baker

“Yes, okay, so this is an easy one just because it's actually my father's favorite film. So this is going to be a Christmas gift right here.”

“You know what? I wanted to grab your Mike Leigh stuff because I have Naked on your old LaserDisc, so I'm going to grab this one and Life Is Sweet. Both films really had a major influence on Tangerine. I know that's hard to see, but the whole climactic confrontation at Donut Time comes from this.”

“You know what? I wanted to grab your Mike Leigh stuff because I have Naked on your old LaserDisc, so I'm going to grab this one and Life Is Sweet. Both films really had a major influence on Tangerine. I know that's hard to see, but the whole climactic confrontation at Donut Time comes from this.”

“You know what, I've heard so many good things about this, about—I mean, I've seen it, of course, but I'm talking about your, about the special edition features. And so I'm going to grab this. I love Repo Man so much.”

“This and Riff-Raff are my two favorite Ken Loach films. And I'm going to be making a film with kids very soon, and this is like one of the best, you know, coming-of-age films ever. So I definitely want to revisit this.”

“A Chang-dong Lee. I consider him a modern master, and I, I can't—he has to make another film soon.”

“I ordered this one, so I'm waiting for it to ship from you guys. I'm looking very forward to this. I have no idea what to expect with this one, but I've read it's insane.”

“With Yi Yi, because I actually, I haven't—I saw this in the theater. I haven't seen it since it was released in 2000. And, you know, Edward Yang is one of my favorite directors, and just the way he photographed Taipei is really gorgeous. And Taipei has changed so much in the last 15 years that I'm sure this is like a period piece now.”

“El Norte. I saw this in high school. My, I had a history teacher who was, who showed us this, and it really, it stuck with me.”

“I just got to work with Mary Woronov. She's great. Okay, okay, I'm going to get one more, okay? Because I worked with her, and I'm gonna, I'm going to go over to her place and have her sign this.”

“You know what? I can't be over until I get one of your Eclipse Series, so I got, I got to do that. How can I not go with Chantal Akerman? I really hope that she knew how much her films meant to the world and to filmmakers who adore her stuff so much. She'll be missed.”

“Oh, and I'm sorry, and one last, I have to, you know what? I have to get your, I have to get Claire's Knee and the Rohmer series. I have to get that. I went to NYU wanting to make the next Die Hard, and then this happened. And this led me to French New Wave, and then, you know, then I got into Italian Neorealism and British social realism, and then eventually to Cassavetes. So I feel as Claire's Knee, it really set me down the right path.”