This film seemed tailor made for me. I love Ari Aster, I love Joaquin Phoenix, I love dark comedies, I love existential dread, I love weird shit.

I find The Irishman a bit slow going in the first half, but I think the last hour might be Scorsese’s masterpiece.

I’m in the minority in thinking The King of Comedy is the best film he ever made. It’s a bit more restrained visually, but it’s such an incredible pitch black comedy with possibly De Niro’s finest, least showy performance.

He doesnt bring it up though, does he? Interviewers bring it up because they know it gets clicks.

What pre-existing biases would they be?

Unfortunately, I think a lot of Jonathan’s nice guy image has been built in the last decade or so. In the late 90s-mid 00s, he also had a reputation for being pretty sleazy.

That’s bullshit. One of my best friends is a camera operator. He worked on a BBC documentary, it was his first broadcast credit. Due to legal issues, the BBC pulled the documentary. It’s impossible to find anywhere. He wanted that for his showreel and to show his name in the credits to his family.

1. This has even more hyped to see Oppenheimer next weekend. Nolan is one of those filmmakers I will always be excited for because he’s earned a lot of goodwill from me. Even if I don’t fully connect with the film, it’s usually a big cinema experience.

Doesn’t matter if it’s the worst movie ever made, what Disney are doing is shitty. If nothing else, for the cast and crew who now have essentially no record of what they probably spent months if not years working on.

Must every blockbuster be 2.5 hours now? The original is one of the best films in history and it came in under 2 hours.

Hard to get it to a top 10 when most feel so grim. I would take Nosedive off because the ending is vaguely positive; by losing everything, she’s free from all the anxiety and stress that comes with the rating system.

Why? There are almost no auteurs left in cinema. It’s nice to see a director who A. resists losing his personal style to take big paychecks and B. has a style he loves and keeps playing with.

Where did this idea that Wes Anderson films are empty come from? I keep seeing people say that Rushmore and Royal Tenenbaums were good because they were emotional, but none of his other films have been.

On the one hand, this sounds far more exciting and interesting than the last few installments have been. On the other, it seems like Brooker has moved so far away from the original concept of the show that he may as well have just made a completely different series and called it ‘Black Mirror Presents’ or something…

I thought she was great for exactly the reason you don’t, actually. I think Plaza repressing her natural instincts to be weird or funny fit really well with a character who is trying to repress her utter dislike for the world she’s in and people she’s with. You could really feel that character’s discomfort and unease…

That’s a quick way to a libel lawsuit.

“I wonder if the sad I’d be without you would be less than the sad I get from being with you.” is such a beautifully inelegant way of summing up a feeling almost anyone in a bad relationship has felt, and it works even better when delivered by Tom, who up until that point spends most of the series eating shit with a…

“Why hasn’t he done the same for Paul Thomas Anderson, Wes Anderson, Damien Chazelle, Barry Jenkins, Ari Aster, Sofia Coppola, Lynne Ramsey, or any of the other great filmmakers who have emerged since the 1990s?”

His greatest performance was Rupert Pupkin in The King of Comedy, which couldn’t be further from his range.

Six Feet Under will always be my number one. No film or TV show has made me absolutely weep like that, to the point where I was still crying after the credits rolled. Even now, I just hear the opening piano notes of Breathe Me and I’ll tear up. It is absolutely devastating and beautiful.