"There’s a recent film, the Swedish movie Force Majeure. I just thought it was brilliant. I’ve been married for 17 years myself, and I thought the way he captured this relationship, all the tension, I thought it was amazing. And what I also loved about it in a cinematic sense was the way he shot it. The fact that he stays wide; he doesn’t do any coverage in the scenes. It took me a long time to realize that that was what he was doing. The way he blocked the scenes was so exquisite and so organic, if you will. If you go back, suddenly you go, “Oh my god, he’s just letting the scene roll.” There are very few cuts within the scene. It’s beautiful. I thought it was a great movie, and I thought I should put something recent in there. [laughs]"

"This is another record that has taken up my time over the past decade or so and I think this is her best album. I can't wait for the next one. She's been brilliant in forging her own path and it's really exciting. She played with us on the Neon Neon stuff but she was releasing records, mostly in the Welsh language, for a few years before then. I think she's on a really interesting musical journey. She is an amazing songwriter, a very natural songwriter who could write anything. She was in LA but she's been in the Lake District for a couple of years now. With this record in particular, there are some incredibly profound songs and she makes experimentation and improvisation extremely palatable to the ears which is very hard to do. Just to be able to make really unique pop music is also incredibly hard to do!"

"A romance between a beat up, tired, old, raggedy-ass drunkard hanging on by a thread and one last hurrah. There’s a theme in the film that I love. To see the two of them [Humphrey Bogart and Kathryn Hepburn], the chemistry was so magical. It was so easy and fun. They were having so much fun. Clearly. It was like watching a tennis match between two of the best players of all time. Just effortless. And they tell this phenomenal story. I’m a sucker for those. [Hepburn] had a similar chemistry with lots of people, with Spencer Tracy in the Pat and Mike film, it was just sparkle and fun. Going back and forth between her and Bogie and they let Bogie play this guy, this stumbling bumbling [does impression “Well, Ma’am”] which was great, he just went there. John Huston did a brilliant job with that thing."

"I always wanted to get back to what we did with PiL [Publice Image Ltd], but I got caught up in other things. The Sex Pistols were back on the road and no regrets: those people are my mates. Then it was all the TV work, which I loved. I discovered that nature is not something to be scared of, and best of all, that animals seem to like me! They don’t want to put me on the menu.” Lydon reflects on his not-so-punk appearance on the reality TV show ‘I’m A Celebrity, Get Me Out of here’ He continued: “But hearing this absolutely brilliant record, in particular Halleluhwah, which lasts an entire side, reminds me of what we were trying to do with PiL. Can is its own thing and so is PiL. The only way to file these records is alphabetically.”

"Almost everything I have tried to say, Yoko Ono was saying over 30 years ago. For half a century, she has been a prophet in our midst. On WARZONE, producer Thomas Bartlett sets her sage voice amid the barest of arrangements, shining a light once and for all on the essence of Ono’s legacy.A recent Netflix film revealed that Yoko cowrote the words for “Imagine,” one of the songs for which John Lennon was deified. It is pure Yoko that she would sit silently next to John as he sang it, knowing the world would listen to her message if it seemed to be from the perspective of her partner, a white, male English megastar. Yoko Ono has given and given to us. She is one of the most brilliant and generous artists of the 20th century, and the public record now reflects this."

"I think A Matter of Life and Death is one of the great works of imagination in cinema. It’s a brilliant story. David Niven could not be more charming in it if he tried. He starts off, you know, as a World War II pilot about to crash his plane whilst quoting Andrew Marvell down the phone to the mayday operator, who he then falls in love with. There is one shot in it, actually, of the heavenly court before it goes into session, which we absolutely — and I haven’t actually spoken to Mike Newell about this — but we lifted almost identically for the start of the Triwizard tournament in Potter, in the fourth film. There is one shot — because I think I watched Matter of Life and Death shortly after we finished that film — which I watched and went, “Oh my god, we’ve just stolen that!”"