"I learned about this record from the Luaka Bop reissue in 2001, so I subconsciously include 'Strawberry Letter 23' on there, which isn't on the original record but is one of my all-time favourite songs. It's the same for lots of the classic soul records, but this album in particular has that sense of one person in a studio in this playground - this wonderland - and it's so euphoric and happy and positive, in that mode of somebody just exploring music and exploring sound. That's something that really connected with me, because that was very much my perspective of the music I was making at that time. It's like, "Oh wow, look at what you can do with this sound, with this technique or this piece of music or whatever.""

"As a piece of modern cinema, I would love to mention Alex Garland’s Ex Machina, which I thought was a brilliant, brilliant film. I think in a year that saw Oscar Isaac and Domhnall Gleeson have another science fiction film out as well, it was such a great reminder of how smaller, more thoughtful, more intense, grown-up… It’s an example of the combination of those things, in a way, a kind of more science fiction in the vein of 2001, a more cerebral, literally cerebral kind of science fiction film that was and just how beautifully performed it is. Alicia Vikander is amazing in that film. It’s a film that I’ve watched many times because I just, I don’t seem to tire of it. I think it’s excellent."

"This was a huge album amongst me and my friends. It was kind of the soundtrack to ten years of my life. From high school, through uni and then right out of uni was all soundtracked by that record really. It was the Bible in terms of hip-hop. It was one of the first introductions to hip-hop of mainstream appeal. It was so full of bangers. It's overly long and the production… well, it's Dre, isn't it? Anything from it is so ingrained in my generation. I'm always happy to hear this album which I think is the true sign of a good album. Although I wouldn't be so pleased to hear Kid A, because it doesn't have that same mood. 2001 has that 'all moods covered' thing going on."

"This is hard, because it could be many things. I mean, it could be Kubrick, it could be Haneke again. Do I need to mix it up a little bit? I feel like I’ve gone very serious. I think it’s either 2001: A Space Odyssey or Funny Games by Michael Haneke. What I like about Funny Games is a moment, actually, where all of it… OK, I think 2001 is a better movie. However, there’s a moment in Funny Games that’s genius, that I love, which is when he turns to the audience, and suddenly turns the whole movie into this kind of study, where we are accountable as an audience. Because we like the violence that’s happening in the movie, and he’s doing it for us, so suddenly we’re culpable. And I think that’s a really cool moment in film that I haven’t really seen other than that. Yeah, I thought that was really clever. Also, I’m talking the American remake, not the original, because he remade it shot-for-shot for the American audience, which is really interesting, because he made it in German and then it only had so much reach, and then was like, “I want to make this for a society where violence maybe is a little more glamorized.” And I’m not just saying that about Americans; I think we’re the same in the UK, where we really like watching that on-screen. It’s just a really interesting study into that, and so, for that reason, I’m going with that. And one time I hosted a screening where all of our friends came down and watched it, and I have never seen a more depressed group of people in my life, and it was a huge mistake. [laughs] Everyone left immediately. No one hung around after."