Gena Rowlands and John Cassavetes. [I chose this one] because of Gena, because I watched it when my mind was first opened up to what cinema could be when I was a young actress starting out and discovering the scope of film. Everything that Gena does in this, as well as in A Woman under the Influence, the way that it explores femininity and masculinity and the devastating edges of masculinity, as well as so many colors that a woman can be – her fierceness, her devastation, her heartbreak, her going mad. And then to understand a film could be shot in someone s house, that you could just do this – you could find a way to carve your own path away from prescribed studio roles. So, I chose this for the whole package.And I had the honor of working with Nick [Cassavetes, son of John and Gena] and Gena in a film that Nick directed and I saw that it was a completely different way of working than I had ever been exposed to. The collaboration between all the departments and how we were all… you hear it a lot, “we re like a family,” but in that case, it really was. Everyone was together. The relationship, for example, between me and the set designer was extremely close because Nick wanted it that way. He said, “Well, this is your character. Where would you live? Let s all do this all together.” So that makes for a more relaxed performance and it s just more fun.Opening Night is also important to me because it s about the theater. Those scenes where she s backstage and about to go on, or the scenes in the rehearsal room, but particularly when she s about to go on stage, that visceral thrill and terror, the way he catches it… theater is my heart so it combines a lot of my loves in that film.