"Katharine Hepburn wrote an amazing memoir just called Me, which is such a great title."

"Bringing Up Baby, with Cary Grant and Katharine Hepburn — just because I grew up on those movies."

"I love Bringing Up Baby. Anything that Katharine Hepburn’s in. I’m committed to the Humphrey Bogart, Cary Grant, Katharine Hepburn era of filmmaking. The African Queen is influencing me on Chaos Walking, which I’m shooting right now."

"Number three is What’s Up, doc?. Peter Bogdanovich directed. It’s his homage to Keystone Kops-type slapstick comedy movies. No, it’s not Keystone Kops; he does have Keystone Kops moments, but it’s… Not a slapstick movie; it’s called something else. They were really popular at one time, with like Cary Grant and Katharine Hepburn."

"A pure expression of what it’s like to visit an amazing city by yourself. It captures the joy and romance but also the ephemerality and loneliness of travel. This is also the movie that made me love Katharine Hepburn, after years of thinking of her as hammy and unfunny in the context of her screwball comedies."

"Well, I was a super fan of Katharine Hepburn as a kid, so let’s say The Philadelphia Story. I also really loved Cary Grant as a kid, so you could do a subset of, like, His Girl Friday; you know, Rosalind Russell, Cary Grant, incredible movie. The dialogue is just mindblowing. The pace at which they manage to speak, I find to be incredible."

"Personal favorite, this is. It may not be a favorite of a lot of people, and I have loads more favorites, but for more the banter and the performance I would have to say it would be the original version of The Lion in Winter with Peter O’Toole and Katharine Hepburn. Just to see the two of them go picnicking on each other. There are other wonderful performances in it and [it was] shot in Ardmore Studios in Ireland. Of course, to have some of the back splash story as well, because I’ve heard from people there O’Toole wouldn’t turn up for hours, and then he’d turn up with a case of champagne. He was always sort of rooting for Katharine Hepburn, who was of course incredibly stiff and elegant and posed about it all. Of course, I worked with Anthony Hopkins as well, who told me a bunch of stories about it. If O’Toole didn’t turn up, Hopkins used to play O’Toole’s part off camera lines. But Hopkins was so good at it [laughing]. I wonder if O’Toole caught him!. Terrible — it was like — that was the film where, at the end of the film, Katharine Hepburn turned around to Peter O’Toole and said, “When I first went into this business, my agent told me never to work with children or animals, and you, Peter, are both.”"

"This is Katharine Hepburn’s second movie, and it’s directed by a female director, Dorothy Arzner, who’s one of only a couple of prominent female film directors during the sound era of the 20th Century. It’s just a really interesting film about a supposedly liberated woman, and how she navigates a professional life and a personal life, and how she kind of stays trues to her ideals in a world where – while there may be rhetoric supporting the idea of a new woman – really what the world values is women being domestic. Katharine Hepburn plays basically an Amelia Earhart-type aviatrix who has never had a romance, and she ends up meeting and falling in love with a married man who has never been unfaithful to his wife, and disaster ensues. The name of the film is the name of the man that she falls in love with, but it’s definitely her story."