"I think the next one was Dead Man Walking. One, it was a brilliant film with brilliant performances, but I thought the filmmaker put forth the question without giving us the answers. And I thought he did it masterfully. You know, it’s a question of capital punishment. It wasn’t preachy, it wasn’t didactic, it wasn’t sort of a polemic that you kind of go, “Let’s investigate this like an English class.” It was telling you a great story because, you know, all the audience wants to hear is what happened next. So it was telling you a great story, and based on the story telling I found my perspective changing. I had great sympathy for Sean Penn’s character and then suddenly I didn’t. And I thought he deserved exactly what he got. And then in the next fifteen minutes, my point of view would change. That’s why I thought it really involved you on an emotional level on the question of capital punishment. But even more than that I think it showed what film can do and what really great storytelling can do."

"I don't know how I came across that album to be honest. But again, some of the lyrics, oooh! Have you seen them live? Brilliant. Fucking brililant. Like a punk rock & roll trio with stand up piano, bass and drums. When we saw them, it was Shepherd's Bush and I wasn't expecting it to be so full on. But the way they create what they do on stage and live – it's almost like three jazz kids who ended up writing quirky pop songs. Their drummer is phenomenal, they all were. The bass player uses distortion at times and Ben bangs the hell out of the piano. I remember that gig really well. Remember when Matt Lucas had the character George Dawes? He was in the audience at that gig. And everybody in the room knew he was there. Everyone was locked into him and someone shouted out 'Tell us the scores George Dawes' and I felt really sorry for him! But it was just a really amazing gig and it's a great record. Rough but brilliant."