"I only had it on tape recorded off record. I just thought it was unbelievable. I don’t know whether it’s timeless, because it puts me back in that room more than any other album. If I put it on I’m 13 again and there's a certain dappled light coming in, and it’s spring, and it’s early summer and it gets me every time. It’s genius. Great production, and best backing vocals in the history of time on ‘Satellite Of Love’ by Bowie and Ronson. ‘Andy’s Chest’ I’ve never been all that hot on but the lyrics are amazing. Bowie and Ronson’s production was crucial to this album. Because Lou would have come in with those songs, the way he plays them now – he doesn’t even know what the tune is anymore: [robotic voice] “It’s just a perfect. Day. I’m glad. I spent it. With you.” And that’s what he would have sung to Bowie and Ronson. And Ronson would have gone: [thick Yorkshire accent] “here Dave, what the fuckin’ ‘ell have we got ourselves into?” And Dave’s probably gone: “Er, yeah, nice work... Some semblance of a melody there, but I’m afraid it’s gonna have to go like this…” He sounds like Stephen fuckin’ Hawking sometimes, Lou does… It’s utterly brilliant - forever. You sing these songs to yourself whether you’re doing the crossword or watching the telly - that’s the measure of ’em. And I love the gift of great lyrics. You can have the greatest tune in the world but if the lyrics are crap, forget it."

"One of the classic albums. Played it to death. I was pissed off when it came out, it was when the Bunnymen had just split up and it would have inspired me with the band. When he gets it right, Michael Stipe, he’s just brilliant. It’s not that kind of American music that makes you feel queasy like The Eagles, it’s more indie. When you go to America and see some of the natural beautiful vastness of the country, it moves you onto your kneecaps, the prairie beauty of it. ‘Find The River’ - when I heard that it was instant choking up. I went up to my missus at the time and didn’t know if I could speak. I wrote ‘Nothing Ever Lasts Forever’ after it. I don’t know if it was inspired by it. It made me like a type of American that I’ve never liked, the Mark Twainy kind. For some reason it connected with me, but the last thing I’d like to do is buy a pair of dungarees and go net fishing in a stagnant pond. But each to their own – Stipey obviously does it. The videos and the bit in ‘Man In The Moon’ where he does the little shuffle and the Elvis “hey baby” - when I saw that I thought, you twat, you’ve got it completely right, and here’s me hacking about with some half-baked solo songs. And they were half-baked, some of them from Mysterio. But after Automatic they did too much and a lot of it wasn’t up to that standard."

"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."