"A little Whiplash anecdote is, of course, like everybody else, I had no idea who Damien Chazelle was. Jason Reitman was the one who sent me the script, in an email, for Whiplash. He sent me both the short and the feature script and just said, “Read this,” and obviously it’s from Jason so I’m gonna read it. It was again, obviously, probably one of the most brilliant scripts I had ever read and one of the best fits in terms of the character that I really immediately understood and felt like I could wrap my brain around and pull off. They said, “The writer-director would love to meet you,” and we set up a lunch, and Damien and I sat down and immediately basically agreed on everything, except he didn’t know that I had a musical background, so he was talking about how we’d have body doubles and we’d have somebody coaching me on how to wave my arms around like a conductor. And I said, “Hey, we don’t need that because actually, that’s one of the arrows I have in my quiver.” That was one of those moments where it felt like kismet, that Damien was like, “Oh, my God.” He said, “When Jason and Helen suggested you for this part, I immediately thought that’s a great idea, but I had no idea that you actually had those kinds of abilities.” And also, he didn’t write the script for me, but he wrote it with Miles Teller in mind from the beginning, and didn’t know that Miles had been playing drums since he was 15 years old."

"One of my favorite films of all time has got to be Mary Poppins. Well I was old enough to remember it when it came out, but I don’t think I saw it in the cinema, I think I saw it when it eventually came on television. In those days, you had to wait about six or seven years before a film got from the f–king cinemas to the television, and it being Disney, they never actually released their films. It was a very clever policy: They just re-released them every 10 years. I think it’s one of those movies. I was having a very depressing time recently working on a job. I was feeling particularly bad and I put the television on on a Sunday afternoon, and Dick Van Dyke was singing “Chim Chimney” — it just lifted my spirits. Everybody criticized his Cockney accent — and even at the time I probably joined in — and you can criticize his Cockney accent, but you cannot criticize his brilliant comic dancing. It’s f–king wonderful. Oh, it’s wonderful. And the quality of the work: The beauty of that film, the simplicity of it and the way it was made and directed; the charm. The way it appeals to people — it’s the old cliché, you know: Eight or 80. It’s a wonderful piece of work. And it’s magical. It’s one of those films, you know, that you can dip into. If you’re ever feeling low, stick it on and you’ll feel much better. If you haven’t got any illegal drugs, put that on and you’ll be alright. [Laughs]"

"There are very few bands that I have more than two or three records by, and with Eno in particular I think everything that Brian Eno does best is on this record. I've tried to listen to other Eno records but I still get more from this one than from any of the others. There's just something about it. It's got this wonderful ramshackle element to it, but at the same time it's really experimental, and everything he does best is there. I remember listening to The Unforgettable Fire and the bits I listened to most were the bits that were obviously Eno overdubs or reflected his attitude coming through. And on that same tip it's already on Here Come The Warm Jets. Plus it's got some brilliant musicians playing on it. There's that classic guitar solo by Robert Fripp on 'Baby's On Fire'. Everybody stops talking when those 32 bars happen, or however long it is. And it moves from mood to mood. Every song on it has an atmosphere. 'Cindy Tells Me' is kind of flippant. You can imagine him writing that on a Sunday morning with a hangover, waking up in a stranger's apartment that happens to have a piano. Maybe he was thinking that Roxy was commercially successful - I wonder if I can be as well. And at the time he wasn't, of course: it was just, oh god, here's a weirdo record from that bloke that used to be in Roxy Music. But I think there are a lot of great pop tunes on there as well as it opening the door for a lot of experimentation."

"What a surprise! Actually a movie about people! No special effects, no super heroes, no gunfights; just a riveting two hours and 15 minutes about some human beings you can recognize as real, going through the agonizing upheavals of a marriage that is no longer working, and therefore facing the daunting, heartbreaking throes of divorce. That’s Noah Baumbach’s new picture, “Marriage Story,” and it is right up there with the best of this exceptional director-writer’s finest work, thus only confirming my long-held opinion that Baumbach is vividly among the top picture-makers of his generation. It is a joy to see and hear actors speaking dialogue that is superbly crafted and profoundly believable. And to watch a film during which the camera is always in the right place for the actors to shine and the scenes to play most effectively for the audience. All this talented and insightful direction, of course, results in brilliant performances. If there is a more nakedly affecting and moving turn by an actor than Adam Driver’s here, I certainly haven’t seen it. He’s always good, but this is truly striking, vividly touching, and simply as good as it gets in modern pictures. I always enjoy Scarlett Johansson’s work, and she certainly doesn’t disappoint here. And Alan Alda’s aging character is memorably drawn. Like so much of the best American movies, Baumbach’s work here is both deeply personal (though not autobiographical) and at the same time quite clearly universal. I really hope that this picture is successful enough to encourage other filmmakers to bring real people to the screen, and to tell stories that resonate with reality."

"I'm so excited about being on the same bill as Patti Smith at Field Day! I think it's going to be fucking brilliant as well. I think she's going to be amazing. You can sometimes be disappointed because of all the baggage and preconceptions that an artist can bring from back in the day but I think she'll be a killer. She's going to be all over it and I'm really excited. But yeah, this album was a massive mainstay in our tour bus and throughout our working life and it still is now. I always wanted our band to sound like Patti Smith Group - they've got the piano, they've got the hard and fast edgy guitar, the bass… that's how I wanted Supergrass to sound like. How close did we come to achieving that? Well, there were the odd songs where we had that energy where Danny [Goffey] was on drums and keeping quite simple 4/4 beats and punky beats but without having screaming and distorted guitars all over the place. We had those moments of guitar, bass, piano and drums and we had that energy. I mean, can you imagine Sex Pistols with a piano? And that's what Patti Smith Group did so brilliantly - they had that raw energy. They had that piano but it wasn't used in that flowery way. It's a bit like how Bowie used piano in that rhythmic way. This record is an utter classic. That moment in 'Horses' where it all kicks off, I think we've searched to write our own version of that over the years. It's like, 'Woah! Take me away!'"

"The thing about The Beatles, whether or not you think they’re good, as an introduction into like pop music, experimental music and avant garde music, it’s literally like every album is one of those text books you had at school, Beatles 1, then Beatles 2, then you’re ready to more on to Beatles 3. There’s some of their records that with hindsight weren’t particularly interesting, but The White Album is kind of mad. Often you remember it as better than it is, but as a product of what’s possible in terms of releasing music as a hugely popular band, what you can do if you want to do it, I think it’s a really brilliant thing. Without them having done that, someone else would have had to make that idea a reality for the world of music. And it’s got some really good tracks on it! I do think it’s becoming more and more acceptable to dislike the Beatles and that’s what I’m saying – you can totally not like them, but you’ll struggle to find another band that will teach you about music in such a beautiful way. The curious thing about The Beatles, speaking as a musician, is that everything you thought was magic, isn’t magic. They had press and radio people, people to create this event when they arrived in America, it wasn’t this spontaneous thing. I remember watching the Beatles anthology when it came out and finding it incredible, then I watched it recently and it feels really horrible. And you know that they themselves weren’t necessarily nice people, I feel duped!"