"Shakespeare in Love is my next one. It holds up so great. I’ve seen it about 15 times. All these movies are movies that I watch a bunch, and that’s my ultimate test is can I watch them over and over. Shakespeare in Love totally holds up. It is a phenomenal metaphor for Hollywood. That’s what I love about it. It’s probably the best movie about Hollywood ever made, even though it’s not about Hollywood because it’s about writing and financiers and actors, and it just rings so true. And it’s also a movie that I don’t think… I can’t speak for you [to Wernick], but I could never have written it because it very much feels of its time, and I think that’s a particular voice. Marc Norman and Tom Stoppard did it, and it’s just a particular voice that would be incredibly hard to ape, I think. It has probably my favorite shot of all time about love, where it’s just a push in on Joseph Fiennes as he’s looking at Gwyneth Paltrow. It’s a push in on both of them, and just the look on his face and her as the object of his love; it gets me every time. Then, of course, it’s got all that Shakespeare weaved in — Romeo and Juliet, actual lines from the play. There’s a segment right in the middle of the movie where they just do Romeo and Juliet for a montage for about five minutes straight, and it’s showing all these different things, but the words are all Shakespeare, and I love it. I just love it."

"The second non-fiction book by the legendary novelist and screenwriter responsible for such classic films as The Princess Bride (a personal favorite), Marathon Man, All The President’s Men and Butch Cassidy and The Sundance Kid. Like the prequel, Which Lie Did I Tell includes candid behind-the-scenes stories, a window into the process of how to write good scripts and how The Princess Bride became his first screen credit in nearly nine years. A thoroughly entertaining insider’s look into how Hollywood works."

"A classic ghost story, from a novel by Dorothy Macardle, directed by Lewis Allen. Brother and sister Ray Milland and Ruth Hussey buy a cliff-top home in Cornwall that turns out to be haunted by at least two spirits and one still-living person . . . the waif Gail Russell, who is drawn to the room where her mother supposedly died. It’s one of those Hollywood films that was too sophisticated for the censors, with several transgressive elements (lesbianism, illegitimacy) couched tactfully and woven deeply into the mystery."