"For obvious reasons, since her passing, I’ve been playing it a bit, and it’s a fucking great album. I think it was Tony Bennett who said she had the voice in which he could recognise the echoes of the truly great singers. Again, she had that spontaneity: she could do five different versions of the same song and they’d all be equally good. And that’s the sign of a real soul singer. I did meet her a few times, I used to see her around Camden, and my daughters used to know her a bit, being Camden girls, and it was sad seeing her demise. She was this healthy, vibrant girl and bit by bit you saw that change. Really tragic, and especially when you hear how great that album was. It’s funny, even in our heyday, people in Camden would leave us alone a bit. There wasn’t that tabloid hunger in those days, and there wasn’t a lot of music in the papers. Also, we weren’t in the girly market. Girls didn’t like Madness, so there was no point in writing about us! So we avoided all that. But now of course there’s the internet, and all these fucking virals or whatever they are, and everyone’s got a camera on their phone, and if Amy wanted to go and hang out at the pub, she just couldn’t. And at the very end, all she wanted to do was come back to Camden. Hopefully in time people will remember her as a brilliant singer, and forget all the other nonsense."

"I guess I’ll have to start with Songs from the Second Floor, which is a film by Roy Andersson, who is a brilliant Swedish filmmaker who basically… He made a feature in the ’70s called A Swedish Love Story that is a really wonderful, strange, funny, acerbic commentary on Sweden that became this huge hit. I think it was the biggest hit ever in Sweden. And then he delved into making commercials for a long time, and he developed this new style over the course of something like 300, 400, 500 commercials. Then, in the early 2000s, he came out with this film that took him several years to make called Songs from the Second Floor, which is like a parody of obsessive perfectionism. He’s very similar Jacques Tati in that he works primarily with stationary wide shots, and he’s always building sets. All of the sets in his films are built from scratch, and the reason his films take so long to make is because each each vignette is one shot, and the set for that shot tends to take a month to build. There’s just like these gorgeous paintings, and there’s this really singular, dark, dry, sad wit driving everything he does. Since Songs from the Second Floor he’s come out with two other films that play like spiritual sequels, You the Living and A Pigeon Sat on a Branch Reflecting on Existence, which I think you can see on Netflix. But Songs from the Second Floor remains the most perfect of the films, in my opinion."

"Mike Leigh might be my favorite living filmmaker. Topsy-Turvy is perhaps the most generous period piece I’ve ever seen. It is so funny and so filled with period detail and so clearly a film that doesn’t want to stop. It’s purely anecdotal; there’s no real plot. It’s structured around the writing of The Mikado, but really it’s just about the period, and every scene is so rich. As for Naked, David Thewlis’s performance is my favorite male performance ever. There’s nothing like it. It’s a bleak film, but it’s so filled with life and passion and it’s so funny. Leigh is an inspiration but not an influence. I don’t think anyone can work the way he does—nobody has the resources. He spends six months improvising characters and relationships and histories with the best actors in the world, and then he goes off and writes a script. I go to his films just to remind myself what I want out of movies about people. Ultimately I am a genre filmmaker and he’s not, but I’ve always wanted to make genre films that are rooted in character. I go to his films to pull myself a little bit out of genre and remember what it is that makes us care about any story in the first place—the people at the heart of it. But Leigh gets so much credit for his character work and his work with actors that people forget to mention what a brilliant craftsman he is."

"Mike Leigh might be my favorite living filmmaker. Topsy-Turvy is perhaps the most generous period piece I’ve ever seen. It is so funny and so filled with period detail and so clearly a film that doesn’t want to stop. It’s purely anecdotal; there’s no real plot. It’s structured around the writing of The Mikado, but really it’s just about the period, and every scene is so rich. As for Naked, David Thewlis’s performance is my favorite male performance ever. There’s nothing like it. It’s a bleak film, but it’s so filled with life and passion and it’s so funny. Leigh is an inspiration but not an influence. I don’t think anyone can work the way he does—nobody has the resources. He spends six months improvising characters and relationships and histories with the best actors in the world, and then he goes off and writes a script. I go to his films just to remind myself what I want out of movies about people. Ultimately I am a genre filmmaker and he’s not, but I’ve always wanted to make genre films that are rooted in character. I go to his films to pull myself a little bit out of genre and remember what it is that makes us care about any story in the first place—the people at the heart of it. But Leigh gets so much credit for his character work and his work with actors that people forget to mention what a brilliant craftsman he is."

"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"

"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."

"And number five, I’m going to say Smokey and the Bandit. I’m back on the comedy. It’s between Smokey and the Bandit and OSS 117, which is a French movie — it’s sort of like their version of the Naked Gun movies, but their agent’s really good; he’s actually very good at many things. He just happens to be a complete moron. But he’s a lover, he knows many languages… Anyway, Smokey and the Bandit, Jackie Gleason’s performance and Sally Field’s; she was amazing. It’s also a good snapshot of America when being a truck driver was cool. [laughs] Being an 18-wheeler truck driver was like, “That’s a good job.” I mean, they were badasses, and you don’t really think of that now; they don’t have that same mystique. But Jackie Gleason as Buford T. Justice… He has his own f***ing entrance music; every time he shows up, they’ve got this tuba playing, he’s there on the scene, and he’s doing his schtick, doing the best stuff. He’s another character, like the Joe Gideon character in All That Jazz, who’s despicable. He’s a racist, he’s a terrible father, he’s a sh**y cop, and you just can’t wait for him to get back on the screen. He has a line in there, talking about Sally Field, who runs off, and she’s a dancer, and he says, “That’s what you get for poontangin’ around with a bunch of hippie show folk.” [laughs] That is the quality of stuff he’s doing in that movie; it’s just so brilliant."

"This was a great time for Iggy Pop. He'd been through a lot but this particular time period, things really seemed to work for him. And I like the exploration of early synths here as well. You've got a song like 'The Endless Sea' which has the over-loud synths. I'd have turned them down a little bit but it's great because it's really in-your-face and you can really hear the excitement of the guys getting hold of a Moog. There's an innocence here coupled with an early discovery of stuff. And this album is more about the songs. I don't know if it's a case of something being overplayed but I much prefer listening to this than say, 'The Passenger' or 'Lust For Life'. Maybe it's because those songs are always on and they're just overplayed - and they are brilliant and amazing songs - but there's a tightness about New Values, especially in the drum sound. They've obviously come back from Hansa and the open room, which is a sound that people have tried to emulate over the years, to do something different. Certainly when you look at albums like this, Horses and Marquee Moon, Supergrass were really trying to channel that '75-'79 period and that edgy punkiness but with elements of sophistication. I bought a Telecaster Deluxe guitar in the late 90s and I was really chuffed to get it because it was probably played by one of those musicians from that time period."