"If I had to do my top 100 movies I think 15 to 20 of them would be Woody Allen movies. This is the toughest one for me to do because the instinct is to say Annie Hall, because it’s undeniably, I think, perfect — in terms of comedy, romantic comedy specifically. It’s one that, the older I get, I feel like I continue to grow with, and I check in with it every once in a while. Depending on where I am in my life and the relationships I’ve had, I can always glean something different from it or recognize some truth in it that I’ve experienced or yet to experience. It changes every time. If I were like an evangelical, crazy born-again it would be my Bible. It’s like having an old sage friend who you don’t see very often, who’s tremendously neurotic. I also relate to him so much just as a neurotic and an over-analyzer. I fell in love with him in junior high school when, you know, you’re going through your formative years and you’re realizing certain qualities about yourself. So when I was introduced to Woody Allen it was such a relief. He made me feel like it was okay; not only could I function with neuroses but I could thrive. And certainly with women you go through so many relationship questions and struggles and it’s just nice to know someone can take all of that and create entertainment and mine those life transitions for such comedy. There’s a lot of solace in that. But I also love him on a simple comedy level — I almost love his physical comedy and his slapstick as much. So if I had to pick just one, I would say “Every movie he made in the ’70s.” [laughs]"

"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 used to go to see movies with my dad. He took me to see ’Round Midnight. Afterward, we bought the soundtrack and listened to it a lot; it was one of the few records I felt okay about putting on when he was in the house. It fascinated me that the music on the record was also the music we saw performed in the movie. This helped me to understand one of the things that I value most in movies: that the action captured by the camera is special and unique and crucial to the value of the movie. Which is to say that the writing is crucial, of course, the preproduction, scoring, and editing are crucial, of course . . . but my main thing is what the camera captured at the moment of its happening. I love to watch a performance that was not created by editing or cinematography or even writing, but rather a performance that is in and of itself, in the moment that it was captured, something of the highest value (because of the collaborative efforts of the major forces involved in making it happen in the first place). And so there are certain directors, “actor’s directors,” who give me more pleasure than most others. No actor is great by himself or herself. Tavernier was able, again and again, to present his players in measured, idiosyncratic, and complete ways. Coup de torchon was the first time I noticed this, and it remains a favorite. Also because Isabelle Huppert is so good and beautiful and Philippe Noiret is a hero’s hero. And because it took this resetting of Jim Thompson’s book (and James Foley’s After Dark, My Sweet) for me to understand what Thompson’s work has to offer."