From a feminist friend of a friend:

“This is nice and it’s cool for a straight guy to talk about having a new perspective on the male gaze, good for him. but the fact that it’s gone so viral is a little upsetting to me. do we really expect so little of men that Dustin Hoffman recognizing that, you know, beauty doesn’t necessarily accompany substance (and vice versa) is inspirational?”

So, what's his big revelation here? That unattractive women are interesting, too? Really? Not impressed.

He admits to working his fame on attractive women and then felt guilty for it, and made Tootsie to make up for his guilt (and cashed in, in the process). I don't hold it against him for having a "come to Jesus" moment, by dressing up in drag. I don't even care that he got emotional when he shared it with the American Film Institute, as some sort of cultural revelation.

What bothers me is that we live in a culture that feeds off these momentary glimpses of heart, when we all know that there is really so much more. And that this admiration for such a minor insight really sets the standard far too low.

Let's not mistake a sincere moment with actual, you know, integrity.
Sure, it's a sweet video and a sweet message (maybe a bit saccharine for my tastes). And Tootsie is, for sure, a great flick! But, crying on camera is not the limit-case for what constitutes a touching and meaningful moment, particularly one like this, devoid of any real context and depth. It's emptiness masquerading as meaning.

Crocodile.

This film got me fired from my job.
I was working graveyard shift in the video department for Bass Pro Shops at their corporate headquarters. I had the run of the place, all to myself. A buddy of mine had just been accepted to The American Film Institute, mainly from a short he did, which inspired me to do one. So with a warehouse room full of video equipment (and the blessings of my boss) I set off to make my first short film.

After it was complete I created a website (from the perspective of the stalker, with creepy journal)
http://www.archetype-productions.com/think-about-you/
and sent it off to film festivals. I actually had the dvmagazine film festival call me to make sure it was "just" a film (idiots??).

The film did really well and i got into about 15 film festivals, even winning about $10k worth of equipment from Sony (& AFI film festival)

But my good luck was not to last, cause somehow, one of the higher ups at work got wind of the website and film. The next thing I knew they had setup security sign ins and check points and I no longer had a job.

Harold and Maude is a movie directed by Hal Ashby in 1971. The film, featuring light humor, dark humor, and existentialist drama, centers around the exploits of a morbid young man -- Harold -- who drifts away from the life that his detached mother prescribes him as he falls in love with septuagenarian Maude.

The film is number 45 on the American Film Institute's list of 100 Funniest Movies of all time[1], number 42 on Bravo's 100 Funniest Movies and on IMDB's list of the best 250 movies ever made. In 1997, it was selected for preservation in the National Film Registry of the Library of Congress [2]. It is particularly noteworthy as having an enormous and zealous cult following.

The film was a commercial failure when it was released although the critical reception was extremely positive. The screenplay upon which the film was based was written by Colin Higgins, and published as a novel[3] in 1971. The movie was shot in the San Francisco Bay Area. Harold and Maude was also a play on Broadway for some time.

The movie has given rise to two new words: "Harolding" (hanging around cemeteries) described by Douglas Coupland in "Harolding in West Vancouver" (1996); and "Maudism" or "Maudianism", the philosophy of living each day to the fullest.[4]. This may also have a link to the phonetically-identical philosophy of Modism.

The entire soundtrack for the movie is by Cat Stevens.