"When I was fifteen, I caught a portion of Throne of Blood on television and couldn’t get it out of my mind. It set me off on a quest through video store shelves to figure out what it was I had seen, and I began by watching both Kagemusha and Seven Samurai on my way to finally rediscovering Throne of Blood. This pretty much sparked my interest in the classics. I cheated on this list by choosing three films, but I think it’s difficult to ever recommend just one Kurosawa film. Here’s a little side story: I used to encourage my friends to watch older movies back in high school, but they mostly found them to be dreadfully boring. The night before we were leaving for a snowboarding trip, I suggested watching a little bit of Seven Samurai. Now mind you, these are dudes who pretty much only watched the latest action movies or comedies. By the time intermission(!) came up, everyone had decided they needed to see the rest of this nearly four-hour epic instead of snowboarding in the morning. I highly recommend Seven Samurai for the reluctant classic movie watcher. It might just change some lives, but it can certainly change people’s perceptions of older films and remind them that “classic cinema” simply refers to old movies that are so awesome they’ve stood the test of time."

"When I was fifteen, I caught a portion of Throne of Blood on television and couldn’t get it out of my mind. It set me off on a quest through video store shelves to figure out what it was I had seen, and I began by watching both Kagemusha and Seven Samurai on my way to finally rediscovering Throne of Blood. This pretty much sparked my interest in the classics. I cheated on this list by choosing three films, but I think it’s difficult to ever recommend just one Kurosawa film. Here’s a little side story: I used to encourage my friends to watch older movies back in high school, but they mostly found them to be dreadfully boring. The night before we were leaving for a snowboarding trip, I suggested watching a little bit of Seven Samurai. Now mind you, these are dudes who pretty much only watched the latest action movies or comedies. By the time intermission(!) came up, everyone had decided they needed to see the rest of this nearly four-hour epic instead of snowboarding in the morning. I highly recommend Seven Samurai for the reluctant classic movie watcher. It might just change some lives, but it can certainly change people’s perceptions of older films and remind them that “classic cinema” simply refers to old movies that are so awesome they’ve stood the test of time."

"When I was fifteen, I caught a portion of Throne of Blood on television and couldn’t get it out of my mind. It set me off on a quest through video store shelves to figure out what it was I had seen, and I began by watching both Kagemusha and Seven Samurai on my way to finally rediscovering Throne of Blood. This pretty much sparked my interest in the classics. I cheated on this list by choosing three films, but I think it’s difficult to ever recommend just one Kurosawa film. Here’s a little side story: I used to encourage my friends to watch older movies back in high school, but they mostly found them to be dreadfully boring. The night before we were leaving for a snowboarding trip, I suggested watching a little bit of Seven Samurai. Now mind you, these are dudes who pretty much only watched the latest action movies or comedies. By the time intermission(!) came up, everyone had decided they needed to see the rest of this nearly four-hour epic instead of snowboarding in the morning. I highly recommend Seven Samurai for the reluctant classic movie watcher. It might just change some lives, but it can certainly change people’s perceptions of older films and remind them that “classic cinema” simply refers to old movies that are so awesome they’ve stood the test of time."

"I think I gotta go with that old stand-by, Butch Cassidy and the Sundance Kid. Love Butch Cassidy and the Sundance Kid. Love the — you know, it’s the two guys. It’s what me and my brother specialize in, the two guys. Well, in the Three Stooges‘ case it’s three. But the relationship between two guys like that, I don’t think it’s been done any better than with Butch and Sundance; particularly with Robert Redford and Paul Newman. The way they worked in so many different things, from comedy to romance to action and the way it’s so beautifully shot and, you know, a great story. And they didn’t pull the punches at the end. If you made that movie today, I’m sure that you’d do the test screenings and somebody would raise their hands and say, “We want them to get away at the end!” But they didn’t get away at the end. Today you’d have to re-shoot the ending where the guys go off on some secret beach somewhere and live happily forever — ’cause that’s the way audiences kind of demand it. But with Butch Cassidy and the Sundance Kid, of course, they met their demise at the end of the movie, and they had it coming ’cause that’s who they were. I just think it was a beautiful movie."

"People might question this but Rudderless, which was directed by my husband [William H. Macy]. But I say Rudderless because of two things. One is because of the way the movie was structured, and the way Bill directed it. The audience got to experience in a small way, I think, what parents get to experience when their child does something horrific. That you’re going along with one experience of your child, which is, “He or she is like this, and this is the kind of person they are, and I love them dearly.” And then they do some horrific, incomprehensible action and it pulls the rug out from under you. And Bill did that and the movie Rudderless does that; it pulls a rug out from under you. Your breath gets knocked out of you, you go, “[Gasp].” And suddenly you are reevaluating Billy Crudup’s relationship with his son from a completely different perspective and, again, I just think that’s masterful storytelling. The other reason is Billy Crudup’s performance. And, acting with Billy Crudup, I mean, what, did I do two scenes with him, maybe three? It really changed the target for me. I went, “Oh that’s what good acting is.” Really, and it really informed my work on American Crime. So for me it was a clinic on great acting. So for those two reasons."