"This was from college and Charles had it, and obviously I knew those songs. Jimmy Page and [John] Bonham and John Paul Jones did the arrangements to this song, 'Hurdy Gurdy Man'. Fucking hell man! That's epic! Also, I like the sensibility of basically saying "fuck you", well, not fuck you, but it was the freedom of the 70s - I know 'I Love My Shirt' isn't on that album but I just love that, it was like, "Wow, what kind of freedom can you get talking about your favourite goddamn shirt!" And washing it in the stream! And he'll say, "Know what I mean?" [laughs] There's a song there, 'Sunshine Superman', and I played it for Charles and he went, "Shit!" It's so strange. It took me a while, it's got - [imitates guitar] - it's got all these weird sonic spots, it's more sonic really than the melody, because the melody there, what is that?"

"I know, I know - it's the most classic album on the list. But it is an amazing record. You can look at it in so many ways - just as a piece of music, or what it was responsible for culturally. It really was the most influential record of all time. I'd say it and Never Mind The Bollocks invented modern leftfield music. It has incredible songs, that's one thing. And another is that it has Lou Reed as songwriter. His voice is one of those that you become glued to. It's not as perfect as Scott Walker's, it's more about his phrasing. I love Nico. I mean, how influential was Nico? I think she invented goth. Obviously when she did stuff on her own she really went out there, but with the Velvet Undergound I love the juxtaposition between the songs' melodies and the fact that she couldn't really sing. She had her own style. Amazing record. 'Venus In Furs', 'All Tomorrow's Parties': I love the drones."

"When I think of five favorite films, it’s hard for me to put in, like, Citizen Kane, because while that movie and many classic movies are amazing, I couldn’t lie and say, “If it’s on, I’m going to watch it,” whereas a movie like Fletch, I’ll watch. So I have to consider that one of my five favorite films. What’s interesting about that movie to me is, aside from the ridiculousness of Chevy Chase and his comedy, the plot’s pretty interesting. You’re trying to figure out what’s happening. He’s trying to write this article, he uncovers this whole scam, this fraud, and he’s being set up for this murder, and it holds its own. You can do the wacky characters for Fletch Lives, but you don’t actually have as interesting a central plot. Maybe you’ve just already seen a lot of the jokes. And he’s very good at his job. He’s actually very good at his job; he’s not just an idiot. He can say all the crazy lines and be hilarious, but he’s good at his job, and I think that’s actually what’s kind of cool. And truthfully, I think that’s one of the reasons why – they’ve been trying to reboot, remake that movie forever, but all you’re going to be doing is trying to find somebody who can be as funny as Chevy Chase. But I think what actually makes the movie stand out to me is that, if you break it down, he’s actually legitimately trying to uncover this plot and move the story along. He’s a good detective! So Fletch is the kind of movie that, if it’s on, I’m going to watch it. I’m going to watch it, and I’m going to recite every line. [laughs] I have to keep that in there."

"Only because it’s everybody’s number one choice. I kinda feel, in this day and age — not to be sounding bad in any way — we live in a culture where something’s good, and some people will say it’s awesome, and they may not have even seen it or they didn’t like it. But they want to agree with the cultural zeitgeist. I feel like that movie has stood up to time [and] criticism, and yet everybody can find the exact same reasons as to why it’s awesome. I mean, it’s so well-written. It’s a slow movie that you’re still riveted by. It’s [got] character development unlike anything I’ve ever seen before. And of course, the performances are wild."