Don't Look Now. That's when my understanding of film was evolving in the 80s, catching up with Roeg and Polanski. It's harder to get impressed by something now. I have a very deep connection to that film Photograph: Kobal
Abel Gance's Napoleon. It's out there, it defies all reference of logic in relation to anything else at the time. I'm interested in films that stand out. Also Night of the Hunter, with Charles Laughton as first-time director. Again it's diabolically different, the essence is justified, and the story comes through Photograph: Kobal
The shot in Gladiator, where one of the gladiators pees down his legs from sheer fear just before he enters the ring to live or die. It disturbed me. It is an unusual, extraordinarily powerful yet simple, anthropological moment in what is otherwise a typical Ridley Scott epic Photograph: Kobal
When you get caught out. When you're sitting there identifying with people, you think you know where you're going, and then you get caught out. Almodóvar's Talk to Her is a strange film that takes you places you did not ever think you'd go. It really amused me, and it scared me. Being amused and being horrified are very close together Photograph: Kobal
I love Wallace and Gromit in The Wrong Trousers, when Gromit has to leave home in the rain. I shed a tear actually. I love Wallace and Gromit because they communicate to children and to adults equally. The same is the case with Babe and WALL-E Photograph: BBC
Penélope Cruz in Volver. She's just vibrant and full of life. That's the image of beauty I have of her Photograph: Kobal
Sunrise. I've had it on my shelf for ages. I am prepared to be disappointed, which is maybe why I've never got the plastic off Photograph: Kobal
Peter Lorre, the man with the balloons in Fritz Lang's M Photograph: Kobal
Something between Penélope Cruz and Omar Sharif Photograph: Kobal
Robert Redford. I've got freckles and I'm a bit strawberry blond. I remember meeting Redford and we both did a double-take and had a laugh about it Photograph: Kobal
