"I’d like to pick Red Corner, because Bai Ling’s in it. [Laughs] Actually, I choose it because out of all the movies that have Asian leading characters, it’s the first to have the most feminine — the most brilliant, modern, intelligent, female character ever in a Hollywood film that portrayed Asian characters. In all other films, it’s a mystery, romance, or kung fu; but here, I played a lawyer, a contemporary woman. And she has a romance with this sex symbol — Richard Gere. That combination is really rare on the silver screen, in Hollywood. I play a lawyer and I fall in love; I’m under a Communist government and helping a foreign man. There’s also a lot of unspoken love underneath. I would sacrifice my life for him. She gives on many, many levels; she’s not only tough and sexy, but there’s intelligence behind it, and a total giving of unconditional love for this man for whom she would die and do anything for. There’s a beauty to her giving up everything for a man whom she’s helping while she’s under danger and pressure from the government — choosing between a country’s love, and being in danger of being destroyed and never seeing this lover that she would do anything for. It’s extremely beautiful and romantic to my heart and my soul, and I have a fantastic and beautiful relationship with my co-star, Richard Gere. So that’s one of my favorite movies forever, because I’m so close to it. These two [characters] are giving their lives to each other, and that love must remain hidden on the surface of the court system; the modern world is harsh. I like that under the harshness there’s a romance, and that romance is so free and so true."

"I just think that it's a perfect record. The cover is exquisite; it's still one of the most iconic record covers of all time, so beautiful, mysterious and alluring. Every song on that record is great; it's a brilliant record. 

 That sort of worn-out sound of her voice felt very different to me than a lot of the female voices that you hear, even to this day. She's got this very distinct gravelly, worn-out, fucked-up voice that sounds like she's done it all and of course, she has.

 I just think she's a really interesting artist and she continues to take risks and never does the obvious which is something I've always loved about her. 'Why'd Ya Do It' is still one of my all-time favourite songs and it thrills me – this sort of vengeful, raging expression of total disappointment in somebody. I just really identify with that song for some reason. Her version of 'Working Class Hero' is gorgeous as is 'The Ballad of Lucy Jordan' – both are just amazing songs. 

 She's not been born with the greatest of voices and in this climate where everybody's a stage-schooled kid and everybody can sign multiple octaves – they've not actually got any soul in their heart – she's all soul and all desire to communicate through this fucked up voice that's full of frailty. I just think she's so exciting as a result. 

 She was born so beautiful that she could've easily cultivated a very sort of alluring, very traditionally feminine voice and yet she didn't: I'm so grateful to her for that. There's a lot of androgyny that comes out in her sound, which I really identify with."