Richard E. Grant

“Jules and Jim, love that. Truffaut. I met, I met Jeanne Moreau shortly before she died in Paris in July, like this, she was just smoking, yes. And I went up and I knelt in front of her and I said, 'Jeanne, I'm a huge admirer.' And she said, 'Oh, darling, I enjoy you.' I was thrilled to, thrilled to meet her, and I think that she was so used to people saying that, she would have said 'hello my darling' to absolutely anybody.”

“Cries and Whispers, suffering away here, I love that.”

“Olivier's Hamlet. They all have to—English actor, you have to do that. It's this talisman of Shakespeare film performances.”

“Tin Drum, absolute masterpiece. I was so shocked by that when I saw that when I was a student.”

“Bang, City Lights, Chaplin, yeah.”

“French Lieutenant's Woman, I want to have that. French Lieutenant's Woman, yes. First time I'd seen Meryl Streep, who I then got to work with on Iron Lady, and that was a huge moment because she was somebody that I had admired for so long.”

“No Altman? I can't see any Altman films. Have you got Nashville? Yeah, it's right here. As if on cue, there it is. Isn't that serendipitous?”

“The Graduate. I saw this on a re-release print last year and it is when Dustin Hoffman makes that '', those panic sounds when he's being seduced or being pursued by Bancroft, who was only eight years older than him at the time. I just...”

“Day for Night, Day for Night, Truffaut.”

“Some Like It Hot. Okay, Some Like It Hot. 'Well, nobody's perfect.' I couldn't end on a better note than Billy Wilder's comic timeless masterpiece. Thank you very much.”

“Oh, La strada, masterpiece, Fellini. I'm on a Fellini thing here, okay.”