"Next movie, I have to put a [Takeshi] Kitano film in there somewhere. I get torn between two, but it’s always between Sonatine and Hana-bi for me. They’re both incredible, but I tend to always veer towards Hana-bi, because as much as I love Sonatine, what Hana-bi has is heart. The emotional resonance of that ending is probably one of the most subtly heartbreaking moments in cinema. I just think the film’s an absolute masterpiece. His nonlinear storytelling in that movie, I don’t think he’s ever kind of done that better. It’s just so incredibly well put together. The fact that he can go from these moments of horrific, brutal violence, but then, within a few minutes, have a scene as playful as when he’s playing “guess the card” with his wife in the car, and he can see the cards in the rear-view mirror. To have a scene that’s as playful and as funny and as contemplative as that… I just think he’s a master filmmaker, and I’ve pretty much watched everything he’s done. So, that’s high up on that list then."

"You know, I haven’t seen the film in a very long time, but because it was another thing that my sister and I, as kids, would watch — the film Lady Jane, with Helena Bonham Carter. And Helena Bonham Carter was, I think she was like, 17. I feel funny saying that’s one of my favorite films, but it really inspired us, and we’re both actors now, and she is, to us, still amazing. When I watched it, I just remember thinking, “Oh my gosh, that’s my dream,” to play that role. I love her. Lady Jane started my love of period films and the British accent, which I’m obsessed with. I just did my first one. I did a medieval film [Ironclad] that… Do you know Jason Flemyng? He’s one of my really good friends. As soon as I heard Jason Flemyng was doing it and that it was medieval, I was like, I don’t even care what it’s about — I gotta do it just for the fun. I was the only girl on the movie. It was hilarious. And yes, I got to do my British accent."

"Don’t think I’m in love with the mob [laughs]. I think it has great humor even though it’s about killing and murder and the design of all that. There were wonderful humorous moments in that film and it came from such a real earthy place. The humor was so steeped in the truth — it was the truth. I tell you, I happen to know that world because I ran night clubs. I know that world very well. So I think it was such an incredible depiction of the mob and their lives and the horrible things — I mean Joe Pesci — he was so mean and so ignorant and so arrogant and yet you loved him. It’s very hard to do and it was really great. I was torn between that and Raging Bull. I think Goodfellas was more textured — a more interesting study of character. But Raging Bull has a high place in my best films. Goodfellas is very funny. It’s not in any way billed as a comic film, but it’s quite a phenomenal character study as well, with great humor. Godfather doesn’t have any humor in it, but that’s OK."

"Then, Boogie Nights by P.T. Anderson. I loved it, kind of like for the same reason, and also because I’m very impressed by the fact you can make an artsy movie, but also a commercial one, and a popular one. It’s so rare. It’s just the most difficult thing to do, and they both did that. It’s a big inspiration for me because art films and small, independent movies are so hard to exist right now, and I think it’s very hard as a director today to feel like, can I do something free? Can I do something beautiful? Can I do something also funny but also act strong, say something about the world, but also not doing something too popular, and with some cliché subject. I feel like it’s very tricky right now to give money for a director who’s gonna have different ideas and want to do something special. So, I would say those movies, because also we need to talk about that problem right now of making small movies that don’t really exist any more, and are suffocated by those big other ones. It’s kind of scary right now."