"I think my second favorite film is Apocalypse Now, partly because I’m 58 years old, and I grew up with Vietnam on the television. That movie is just such an amazing journey, and it was really terrifying to watch. There were just so many elements of that film that just left a big impression on me when I saw it. I think I saw it — when did it come out? In ’78, ’79? It was just an amazing film. For me, not having served, it kind of articulated and revealed the fear I think I would’ve had, had I had to go. There were just so many elements about that film that were terrifying. It was fascinating filmmaking, and I love that film. In my career, I finally got to work with Bobby Duvall, he played my father in the movie I did with Billy Bob Thornton [Jayne Mansfield’s Car], but to talk to Bobby about those sequences and what that was like, and how it was like to shoot… It’s a pretty profound movie."

"It’s just timeless space-age music. Music that was recorded with so little technology, and yet it sounds so technological. It’s spontaneously recorded and spontaneously mixed, and yet it sounds like it’s been arranged, by four thousand producers, four million Trevor Horns. But it was just two blokes pushing faders up and down with a couple of space echoes. It’s an amazing sound, and it’s amazing what they did in Jamaica, especially people like Lee Perry and King Tubby. Sonically, they transformed music. It was quite difficult to get hold of at the time: there was one shop in Finsbury Park, which was quite a threatening place to go if you were a young spotty skinheaded kid. I remember Johnny Rotten used to go there, but he was a bit more fearless I think! But there would be house parties where you’d hear a bit of it, and it would filter into places like Rough Trade, and spread to Rock On in Camden Town, and you’d end up, er, borrowing lots of records that you never gave back…"