That’s probably my No. 1. It definitely is vis à vis The Town. Same setting—they even had the same safe front in one of the bank robberies, like, the actual safe was the same in ours as it was in Eddie Coyle. I don’t know what that says except that they don’t update safes very much. We put a little piece of dialogue from The Friends of Eddie Coyle on the television that someone’s watching in The Town. It’s an exceptional film. It does what I try to do, which is to make it seem real. It’s not sexed up, it’s not glam. You feel like these are real guys, who really are doing this. And the stakes feel kind of dangerous and real in a sort of slightly scary, upsetting way; I think the way it would in real life.

Out of prison after a five-year stretch, jewel thief Tony turns down a quick job his friend Jo offers him, until he discovers that his old girlfriend Mado has become the lover of local gangster Pierre Grutter during Tony's absence. Expanding a minor smash-and-grab into a full-scale jewel heist, Tony and his crew appear to get away clean, but their actions after the job is completed threaten the lives of everyone involved.

Obsessive master thief, Neil McCauley leads a top-notch crew on various daring heists throughout Los Angeles while determined detective, Vincent Hanna pursues him without rest. Each man recognizes and respects the ability and the dedication of the other even though they are aware their cat-and-mouse game may end in violence.

Inception is about heisting something really different; they’re breaking into someone’s mind. Leonardo DiCaprio’s really, really good in the movie, and Christopher Nolan is an extraordinary director. It’s virtually entirely visual effects, and yet you never think about it. There’s never a moment when you’re going, “OK, here’s the dragon that flies over, or here’s the robots,” or whatever. It all feels real. It’s the perfect example of story driving the visuals and the way, if the story’s working, it’s seamless, no matter how many pyrotechnics are going on.

Less than 24 hours into his parole, charismatic thief Danny Ocean is already rolling out his next plan: In one night, Danny's hand-picked crew of specialists will attempt to steal more than $150 million from three Las Vegas casinos. But to score the cash, Danny risks his chances of reconciling with ex-wife, Tess.

Terry is a small-time car dealer trying to leave his shady past behind and start a family. Martine is a beautiful model from Terry's old neighbourhood who knows that Terry is no angel. When Martine proposes a foolproof plan to rob a bank, Terry recognises the danger but realises this may be the opportunity of a lifetime. As the resourceful band of thieves burrows its way into a safe-deposit vault at a Lloyds Bank, they quickly realise that, besides millions in riches, the boxes also contain secrets that implicate everyone from London's most notorious underworld gangsters to powerful government figures, and even the Royal Family. Although the heist makes headlines throughout Britain for several days, a government gag order eventually brings all reporting of the case to an immediate halt.

Held in an L.A. interrogation room, Verbal Kint attempts to convince the feds that a mythic crime lord, Keyser Soze, not only exists, but was also responsible for drawing him and his four partners into a multi-million dollar heist that ended with an explosion in San Pedro harbor – leaving few survivors. Verbal lures his interrogators with an incredible story of the crime lord's almost supernatural prowess.

I don’t know if that was one of Stanley Kubrick’s favorite of his movies, but I felt, watching it, even though it’s an older movie, the brutal realness of what was happening. It never felt like a movie, it always felt like you were watching something real, a documentary about it or something. And I think that is the best feeling you can get. Obviously, there are Kubrick scholars who go on and on about it, but to me it’s just a question of impact and the dramatic integrity of it, and in that sense it ranks up there with anything.

A botched robbery indicates a police informant, and the pressure mounts in the aftermath at a warehouse. Crime begets violence as the survivors -- veteran Mr. White, newcomer Mr. Orange, psychopathic parolee Mr. Blonde, bickering weasel Mr. Pink and Nice Guy Eddie -- unravel.

Unscrupulous boxing promoters, violent bookmakers, a Russian gangster, incompetent amateur robbers and supposedly Jewish jewelers fight to track down a priceless stolen diamond.

The Town owes a lot to Point Break. In that movie, they found the bank robbers because whenever the, I don’t even know what the expression is, the “big, great” waves would move around to various locations, the robberies would move with them. It was fun, it was really specific to a certain environment and world, which is what we were trying to do with The Town. And it had this really creative, interesting, visual way that these robberies would happen, that didn’t undermine the film’s sense of realism.