"The first one is Working Girl. I love that movie, and I think all the female characters in it are pretty amazing. I love watching Melanie Griffith’s transformation. Her wardrobe and her makeup is amazing, because it’s the ‘80s. It’s unbelievably awful; you can’t even believe that people used to think that was okay to dress that way, or that other people found it attractive. Joan Cusack is amazing in it. Her eye shadow is so blue; it’s horrifying, and you also can’t look away. Sigourney Weaver is a great villain in it, because she also has moments when you, I don’t know, you kind of like her… and then you don’t in the end, of course. But she’s a very interesting, strong character. Even her tone of voice and the way that she’s super sweet to everyone; it’s almost like Meryl Streep in The Devil Wears Prada before she did that. You know, kind of the bitch with the huge smile on her face. So I love that movie. If I turn on just the last five minutes, I burst into tears. [laughs] Joan Cusack stands up and is like, “She did it!” and that Carly Simon song comes on, and I just feel strong and inspired, and I always cry. It’s like a happy cry. I’m surprised that it still makes me cry, but I’m always just like, “Yes! This is incredible!”"

"Another one’s Coming Home, by Hal Ashby. I mean, I love all of his films — if there’s any filmmaker I would love to be, it would be him. It’s just an amazing film. You think about something like Harold and Maude, which is to me one of the most flawless films there is. There’s always the great films, like Harold and Maude, sure; but then there’s ones that people kind of forget about, you know, or they sort of get swept to the side a little — and I think Coming Home is one of those films. Even The Last Detail is one of those films. But Coming Home: amazing performances, it’s about something, amazing emotional stuff, and it’s just about people — people trying to connect. There’s a simplicity to it, but it’s really engaging the entire time. Waldo Salt wrote the script. I saw a documentary on him. I think just knowing how a film’s made makes me love it as well. He wrote a 200-, 300-page script for this thing, and went and talked to vets and recorded them for like a year. Jon Voight went and lived with paraplegics and war vets who had been injured and stayed in his wheelchair the entire time. It was just a good commitment to making a film, you know, whereas these days it’s like, “I’ll get my double to do it.” I feel like that was made at a time when people still had passion."