"When I was young I became a huge Fellini fan and realised there was just one person doing the music for all his films. Casanova is one of the lesser known Fellini films I'd say. I hadn't seen it until my girlfriend and I watched it about five years ago. It blew me away because it's one of the spookiest; it's a very bizarre film, and the visual and musical landscape are both edgy and weird, as well as sexy. It's one of my favourites now. Nino Rota is perhaps my favourite composer now. I feel like something happened in the 60s with film scores where these classically trained composers were suddenly expanding their palettes to include synths, electric harpsichords and guitars. Nino Rota has really influenced me a lot, he chooses spooky notes and disturbing sounds, although I never knew about the Casanova score until 6 or 7 years ago. My girlfriend started watching the film with Donald Sutherland and we couldn't believe the soundtrack, it was so interesting and moody. It turned out to be my favourite Nino Rota score, even though I hadn't heard it until then."

"My favorite Fellini movie changes as I age. At various times in my life, I might have cited 8½, The White Sheik, Amarcord, even Casanova or City of Women. The movies don’t change, of course. The viewer changes. And now La dolce vita speaks to me in its sweep and totality. As a younger man, I probably only responded to the higher-energy scenes, the orgy, the press corps, Ekberg. But now, at fifty-two, I’m flooded with sadness by the visit from Marcello’s father, and the Steiner storyline and the final moments provoke existential dread. The title used to seem like a winking joke to me. Now it feels more like a punch in the stomach. La dolce vita is forever."

"I am a huge Roxy Music fan! I was the president of the Roxy Music fanclub in Madison, Wisconsin, which only had about seven members. We used to have Roxy Music nights, once a month, we would play their albums, all the different members' solo albums, and the live bootlegs. I love all their albums but I think for me Country Life was kind of their most consistent and most focused one. You really start to hear some of the sophistication that Bryan Ferry would later bring to Roxy Music. The first couple of records had a lot of quirky artiness to them yet the songs were so well written and their arrangements are spot on. There are so many great songs on Country Life including the opener, 'The Thrill Of It All', which is just epic. I love 'Out Of The Blue' and 'Prairie Rose', and 'Casanova' – that’s like a dirty funk number. One of my inspirations as a drummer is Roxy Music. I love Paul Thomspon's drumming on all the records and I've always looked at him as an inspiration. At the time of release they covered the album with a brown wrapper as the artwork was deemed to be offensive - the cover has this beautiful slash trashy glam vibe to it and that kind of defines what I loved about Roxy Music."

"I remember becoming aware of them when I was living in London in '94 when His 'N' Hers came out and thinking: "That's a good band". Actually, I think it was in Select, the one that had Brett Anderson on the front cover draped in the Union Jack and it was like the "new British pop", it was quite a classic issue, and they had a little paragraph at the bottom: "...oh, and Pulp are quite good too" and it was Jarvis sitting on a deck chair. And I thought "hmm", his whole image made sense to me, so I was more open to buying His 'N' Hers and thinking "that's a very good record". Then we were recording Casanova in a place called Moles in Bath, and Moles had a club underneath it and we'd go and drink in the club after a session, and 'Common People', the first time I heard it, was when it came on the enormous PA, it was very loud that room, I thought: "What the fuck is this?" It's one of the greatest pop songs of all time, it's so well-written and it's got such an arc, such a trajectory, a real energy. So that's where I thought "I'm desperate to hear the rest of that album", but also thought "I'm quite shocked and appalled that somebody else is making the music that I want to make myself"! So, yeah, I bought that album and thought, "yes, it really is a different class!" I was pretty scared of him when I interviewed him [for Les Inrockuptibles in 1994] - he was older than me and much, much taller! The first time we did the photo shoot, he turned up in his usual wonderful attire, for some reason, I was having a bit of brain fart that day and I put on this crappy old Barbour jacket coat, which had probably been worn by many many tramps before me. As a result, we did a few photos and then they told us to go away and come back another time and do the photo shoot properly, with Neil dressed as he ought to be. It was quite humiliating! I heard through a mutual friend later that Jarvis had said, "You've got to live it". That always stuck in my head and I thought "well, what does he mean by that?" I suppose if you're going to dress well for photographs, you've got to dress well the rest of the time as well, just be that person. Which I agreed with to an extent, but when you become a parent and have an ordinary life, you cease to dress well, which is a rather down-trodden middle-aged man! I've met him once or twice since very fleetingly in a couple of places. The funny thing is, we were both writing for the same Charlotte Gainsbourg album [5:55] back in the middle part of the last decade. I wrote an awful lot of lyrics and when I had kind of given up because I didn't know what they wanted anymore, they got Jarvis in to finish the job, and sure enough he did some wonderful things on that record. What I like about him is that he doesn't filter himself as much as I or other people would, he lets the stark stuff out, and he's not afraid of it, which I would be, being repressed!"