"For me, Blade Runner is the best science-fiction film ever made. Although I did just speak to StarWars.com the other day, and Star Wars was the best science-fiction film ever made. Blade Runner, for me, was the most fully realised world. Sometimes you see films, not just science fiction films, where you get the sense that if the camera were to pan just to the left or the right all of a sudden you’d be seeing light stands and crew standing around. But with Blade Runner, the beauty of it is that it felt like a real, breathing city. Science-fiction cities in general, I think, are so hard to get right, because it’s so easy to just play some cheesy music or do something that takes you right out of it, but Blade Runner got it right, and I love that about the film. It’s a great film as well, the performances are all amazing, Rutger Hauer is incredible in it. He’s never been as cool and sexy in anything since. Harrison Ford is grim and just a great protagonist. It’s just a brilliant sexy film. The sense that there is a real world beyond the frame of the camera is something that I want to do with my next film Mute, that’s going to be very much my love letter to Blade Runner. It’s a future Berlin thriller, and it’s exactly that element of Blade Runner that I want to capture in my film."

"I couldn’t say enough about how important and extreme as the music was, he was never unaware of this dramatic element of what he was doing. It was always staged in a way for maximum drama. There was always maximum drama whenever Glenn was in the building, whether there was an argument, or the music, or a discussion about high art or whatever it was. Branca was so responsible for so much stuff, for energizing this down town scene in a major way. He was one of these artists that you didn’t really experience his music unless you were in front of it. You could hear the records and The Ascension was some of his best work ever and it’s a great record but it didn’t sound anything like what it sounded like to stand in front of it at 110 decibels. He also started his own label and released a couple of the first Sonic Youth records. He asked us to be the first release on his label so there was kind of a mentoring thing going on there as well. It was definitely some of the most important music that was going on in New York at that time, because it was straddling all these worlds. It had one foot in the punk world, one foot in the art scene and then in the Phillip Glass, Terry Riley, Steve Reich kind of world of art music, he had elements of all of that stuff, and beyond all of it, just what he was doing was brilliant"

"When I got into that album I must have been 19 and in the same way with Andrew Hill’s Point Of Departure, it definitely changed something from the minute I put it on, more so than any of these records for me. It was around the same time as the Blue Note sale at FOPP, when I would buy loads of CDs and listen to them top to bottom a few times over. The album has the most beautiful dark quality to it and the fact it's called Nefertiti, was this all planned? Are you trying to reference this Kemetic Queen? And then even how do you even do that beyond the notes, because it's there when you listen to the mix and the atmosphere. We can't answer it, but he must have. This tune in particular, ‘Fall’, it's very cyclical, it's very repetitive. There's a riff that just keeps coming back and puts you in this really interesting, beautiful trance and it's so dark, but it's so beautiful. I guess on Dark Matter it’s that thing as well. Darkness to me isn’t bad, it’s another thing. Dark and light. My brother made me laugh the other day when he asked ‘If there's a speed of light, is there a speed of dark?’ and I was like ‘Oh My God’, but I just think our relationship with light and dark is very interesting. The minute you say something’s dark people think negatively and that's not what it's about. Dark is sick too, it’s beautiful. There’s so much intricacy, delicacy, beauty in that."