Yowch. Well, I often say that Miller's Crossing and Barton Fink are my #1 and my #2, which I suppose makes the answer Barton Fink. But since I started saying that, their work has just continued to be incredibly diverse and rich. I'll stick with Barton Fink for now, though..
Maybe Days of Heaven, but there are so many, really. The Shining, too. Most of Kubrick, except for 2001 and Eyes Wide Shut, both of which I've seen in the theater. Lawrence of Arabia, too. Hell, I don't know. All of them, I guess.
Ah...Japan, I think. I say Japan primarily because of Kurosawa, who is a very important filmmaker for me, and I don't think there is a French equivalent, at least as far as I'm concerned. But then I remember how drawn to Jean-Pierre Melville I've become, and also of the depth and breadth of French films that I've experienced over the last few years, from Melville and Bresson and the Dardennes brothers and Claire Denis, and so on and so forth. I don't know. I have to stick with Japan for Kurosawa, though, because I grew up with his films, and I feel so close to so many of them.
4) Favorite moment/line from a western.
"You go ask her if she'll eat dog now." Paul Newman in Hombre.
Writing. Strangely, it's also the one that gets the least credit, when you get into the deep-down criticism (unless the director happened to also be the screenwriter) -- a lot of actors complain about writers being "too precious about their words", which implies that the actor saying this believes that whatever they might improvise in place of a given scripted line is automatically better than what the writer came up with. Sometimes it is, probably, but actors aren't writers, and they shouldn't assume that a line isn't written in a certain way for very specific reasons. It would be like saying that actors are too precious about their faces.
6) Most misunderstood movie of the 2000s (The Naughties?).
I suppose it would have to be Harrison Ford. I was a child of the 80s, after all, and Harrison Ford was fucking it for us. I hardly think I need to tell you why. But it wasn't just because of Solo and Jones, but because of the other, more adventurous films he made in those days, like Blade Runner and even The Mosquito Coast. And even though he looked like a star, he showed fear and normalcy, as well as humor -- he was human. And he got his ass beat so often...he was like a pulp detective. I loved him so much that my parents caved and let me watch my first R rated film (Blade Runner) and what was probably either my second or third, as well (Witness).
And now look at him. Cranky, tacky, arrogant, and he doesn't even make any films halfway good enough to back it up. He's really kind of a turd now, when you think about it.
8) Herbert Lom or Patrick Magee?
9) Which is your least favorite David Lynch film ? (Submitted by Tony Dayoub)
11) Second favorite Don Siegel movie.
12) Last movie you saw on DVD/Blu-ray? In theaters?
15) Actor/actress who you feel automatically elevates whatever project they are in, or whom you would watch in virtually anything.
18) Favorite moment/line from a film noir.
21) Van Johnson or Van Heflin?
22) Favorite Alan Rudolph film.
24) In deference to this quiz’s professor, name a favorite film which revolves around someone becoming stranded.
25) Is there a moment when your knowledge of film, or lack thereof, caused you an unusual degree of embarrassment and/or humiliation? If so, please share.
Yeah, every time I take one of these goddamn quizzes.
26) Ann Sheridan or Geraldine Fitzgerald? (Submitted by Larry Aydlette)
27) Do you or any of your family members physically resemble movie actors or other notable figures in the film world? If so, who?
28) Is there a movie you have purposely avoided seeing? If so, why?
29) Movie with the most palpable or otherwise effective wintry atmosphere or ambience.
I feel like there's a good one, right on the tip of my brain, but I can't pull it. But Fargo, particularly that shot of John Carroll Lynch sitting in a warm kitchen eating breakfast, while Frances McDormand heads out into the blue early winter morning, is pretty good. It's good because it gets across a great sense of ordinary coldness, the kind of winter certain people are born into and can put up with. That's hardly ever dealt with at all, let alone with such grace.
31) The best cinematic antidote to a cultural stereotype (sexual, political, regional, whatever).
33) Favorite movie car chase.
35) Barbara Rhoades or Barbara Feldon?
36) Favorite Andre De Toth movie.
37) If you could take one filmmaker's entire body of work and erase it from all time and memory, as if it had never happened, whose oeuvre would it be? (Submitted by Tom Sutpen)
38) Name a film you actively hated when you first encountered it, only to see it again later in life and fall in love with it.
40) In which club would you most want an active membership, the Delta Tau Chi fraternity, the Cutters or the Warriors? And which member would you most resemble, either physically or in personality?
42) Vincente Minnelli or Stanley Donen? (Submitted by Bob Westal)
It's an easy answer, but Gary Cooper going out alone, wracked with fear, at the end of High Noon. I love that so much.
45) If you were the cinematic Spanish Inquisition, which movie cult (or cult movie) would you decimate? (Submitted by Bob Westal)
48) Favorite ambiguous movie ending. (Original somewhat ambiguous submission---“Something about ambiguous movie endings!”-- by Jim Emerson, who may have some inspiration of his own to offer you.)
50) George Kennedy or Alan North? (Submitted by Peet Gelderblom)