"My first favorite film is The Shining by Stanley Kubrick. I am a huge horror film fan. I love them so much. I’ve always loved them. Ever since I was a kid, I’ve been attracted to scary stuff; I don’t know why. When I was younger I would watch a lot of the cheesier process-of-elimination slasher ’90s films. And then I feel like, as my tastes matured a little bit as I got older, I found The Shining, which is a movie that my dad had always spoken about with this weird fear, because he’d never finished the movie. He’s like, “The one film I’ve never been able to finish in my life is The Shining.” So I grew up like, “What is The Shining?” And then, finally I watched it, and it was just incredible. Well, Stanley Kubrick’s my favorite director, so you’ll probably see a lot of his films in the top five. I just love that movie so much, and it’s my favorite on-screen performance of all time, from Jack Nicholson. I think that he’s absolutely incredible. I’m ready to play a role like that."

"She made three in the series, this, then II and III. This one is about hardcore punk in L.A. in the early ’80s so there’s a lot of Black Flag and that whole scene. Its aesthetic was one of the main influences that Chris Blauvelt and I used for Mid90s – for the way things looked, the way the backstage in the apartment looked, for the 16 mm. It’s a remarkable and encompassing snapshot of a scene that I’m personally drawn to, and the ethics and aesthetics of the film are as fucked up and raw as what it’s depicting. The crazy thing is that Penelope Spheeris started as a punk doc maker and ended up directing broad ’90s comedies - she made Wayne’s World (1992)! She also made Suburbia (1983), which is amazing, and another influence for Blauvelt and I. The main thing I did when I became a known as a an actor and had access to people and filmmakers, was me saying, like, “Hi, I’m the kid from Superbad, can I please have all the Decline movies?” That’s how I abused fame at that time."

"I think I must have heard it on tour in the late 90s. When you’re a kid you know Lust For Life or The Passenger and all about his work with Bowie. But when it came to less well-known stuff, it was different. It was before you could find things out so easily, you just had to know a bit about the artist and dig around a bit. When I heard this I thought, “What a great band, what a great time!”. It’s got that slightly postpunk feel, it’s so tight, the drums are really dry. And I love the backing vocals – when the rest of the band do them it’s like a gang but it isn’t laddy; it’s got a cool sophistication about it. I think that’s what Iggy brings to things: he’s raw, he’s kind of punk, but he always has a sense of style. Maybe that’s what Bowie and Iggy saw in each other, that common ground of not over-intellectualising things, of being throwaway but with care and thought. And I love his lyrics, they can be funny – especially with some of the ad-libs – but always cool."

"This is quite a diverse one compared to the rest of them. I'm pretty sure it was my first introduction to dance music full stop. Somehow my brother ended up with it (he was four years older so a lot of stuff I like came through him). He came along with this album called K-Klass, and I didn't even know how to say it. When I first listened to it, I didn't understand how it was made or what it was or what I was listening to. It was really just early 90s standard dance music with house vocals. I remember dancing to it with my sisters and my parents not really getting it. And so I thought, ""Well if my parents don't get it, maybe this is the cool new thing!"" I was only about 7, a chubby little kid dancing around to this stupid music. But it gave me a sense of something I had never felt, which was a sense of ownership of music. These sounds were truly new, my parents didn't have them and we did. It spurred me into more electronic music as a kid."