"Loved that movie. When me and Redman were doing Method & Red — because I hadn’t seen it; I’d heard about it because I used to see pictures on the lot — when I used to drive to lunch, I would see the poster. I’m like, “Who the hell is this Napoleon Dynamite kid?” I thought it was some direct-to-DVD thing. You know, I saw someone one day, and I was like, “What is this thing about?” He’s like, “Oh this movie? You’ve never seen it?” Gave me the DVD. So I go home — I mean, the thing sat there for like two weeks. I got bored, watched it. Incredible.Now, I hang around nothing but real, you know, killers, thugs, right? I’m like, “Yo, y’all gotta check this movie out.” And I’ve thrown on movies in the past, because comedy is comedy to me. I don’t care if it’s white, black, whatever, but they usually shoot down a lot of the white comedies because they don’t get that white innuendo, whatever. I threw on this Napoleon Dynamite, they looked like they were gonna shoot me down again. I mean, they still use some of the quotes from the movie to this day. From there, it was cool for me to play Walk Hard and Anchorman and stuff like that, you know? Now it’s cool.And the fact that they didn’t use a curse word. They didn’t use one curse word that whole movie. And there are so many quotes, so many quotes. And the payoff was the dance at the end. Brilliant."

"Night of the Living Dead was one I saw with my dad. I was 18 years old. It scared the s— out of me. I think my dad and I had to sleep together that night. [laughs] I said, “No, that’s it. I don’t care how big I am!” And what I loved about it, too, was how [George] Romero could just take this film, and do it clearly on a budget, and yet make it work, have this sort of tongue-in-cheek humor with it. So part of what, I think, attracted me to the films I mentioned was not just the films themselves, but how they were made, what they meant politically, on all levels. I’m attracted to all those films that, in a way, engaged us across cultures. So, you look at Night of the Living Dead and you put these people in the 1960s in this pressure cooker, and one of them is the black guy, one of them is the white guy, one of them is the chick, and the brother and sister, and you see what happens. The unspoken subtext of it was huge. It was huge, it was revolutionary. Mutiny on the Bounty was the same thing. And even in films like Redemption Road, where I’ll take the black guy, and he’s the one who’s into country and western, and the white guy, he’s the one who’s into blues, and both of them, along the way, are going to encounter music that informs their personal narrative, and it also informs the musicality of the film. So, along the way they pick up some blues, some gospel, some jazz, and that feeds into the song they play at the end of the movie, the sort of redemptive song. So I think those movies actually speak to what I’m attracted to in film. I just like something that, on some level, even if it’s a horror film, is interesting and redemptive and makes you think."

"Many of our generation of white, British, middle-class musicians who went to art college all knew about Mose Allison from ‘Parchman Farm’ and one or two other songs in the early Sixties that had been done by British R&B bands. So I knew a little bit about him but I suppose like many people, assumed he was a black guy. He turned out to be a Mississippi white guy with pasty legs and an obvious understanding of jazz and its traditions. He did most of his work in a piano trio with a bass player and a drummer, and he sang in this very laconic and down-home way. I wouldn’t say his songs never touched on romantic lyrics but they were often about stuff. About real life – that’s what gave him credibility and a high level of authenticity, because you knew this wasn’t a guy making it up, this was a guy who had lived the things he sang about. I, like many people of my generation, was struck by his work. The Who recorded at least one of his songs. I expect today there are a few younger musicians who will know about Mose Allison in the same way they will know about Roy Harper."