"I also love Harold and Maude. That’s another probably equal favorite. I just love the Ruth Gordon character in that. I feel like she is so inspiring to me, how she lives her life. I love the Cat Stevens music. I just remember watching it as a kid, and just some part of me thought, “I want to be like her.” I wanted to be this person who lives life and enjoys life, and no matter what happens, she is finding the positive, beautiful aspects of life. She’s kind of this unconventional woman who’s just enjoying her life. I thought she was super inspiring. I love Harold’s character too, but I think it’s just, as a woman, it’s very inspiring to see that kind of a character in a movie because you don’t often see a movie about an 82-year-old woman who you just really want to be because she’s so cool, you know? I also kind of like a movie to kind of inspire me and make me feel hopeful in a way, and I feel like that movie does that. There are so many good movies, but they just leave you totally depressed. But I feel like, with that movie, you’re like, “That’s a good movie that makes me feel excited about life.”

"She takes that song 'Ain't Got No, I Got Life' and makes it so much more than a silly musical song [from Hair], she gives it emotional depth. That's the great thing about Nina Simone - she did so many Bee Gees songs - and the Bee Gees are this agreed-upon joke. I think the Bee Gees are amazing geniuses - they are just so prolific and the fact that they were able to make all these changes and keep going. They did this Beatles-esque psychedelic thing which I think is awesome and went onto becoming the kings of disco, and wrote that Kenny Rogers and Dolly Parton song, 'Islands In The Stream'. Nina Simone hears a Bee Gees song or someone suggests it to her and she goes, ""That's such a sweet song - those guys have no soul at all, but I'm gonna make this song sound awesome."" What I love about that album is that it's mostly all recorded live - there's real space to it because of that. That's something we tried to do for the musical - record it live, we wanted to record it in the same room, but because there were so many elements we had to put in it was impossible. The album was recorded four days after Martin Luther King's death. I don't know how big Nina Simone really was in her lifetime, but it feels like we are lacking in politicised chanteuses right now. I think now [there's] this real era of Christian rock - people just want to be uplifted. It's kind of that dynamic thing that the critic criticises Cat Stevens for; you can probably criticise Coldplay or Mumford & Sons for the same kind of thing. Like, ""Oh you're just toying with me, you're starting all small and then making it huge, of course I have a religious feeling right now!""

"I mentioned Johnny's record store, and as well as Suicide, which is ironic considering he killed himself, he got me to listen to Nick Drake. This is such a perfect record, the songs are perfect, the singing's perfect, the instrumentation (even though Phil Collins plays on the songs) is perfect. It was one of those records that didn't need any explaining. I walked in, it was playing, and I asked 'what's this?', I thought it maybe was a Cat Stevens b-side. He told me it was Nick Drake and that I should buy it and he gave me a discount on the record because he was such an evangelist for it, and thought it was one of the best records ever made and that people needed to learn about Nick Drake. I took it home and fell in love with it. It's been a constant for me ever since. I can't imagine a month of my life that's gone by that I've not listened to it. The funniest experience was the first real tour I did, in 1991, with the band The Shamen. It was the first electronic music rave tour of the States, and at the time I didn't drink, I didn't do drugs, I was a very naive little kid and I was on tour with the Shamen, who were all really partying quite hard. I think we liked and respected each other, but we didn't really have anything in common apart from a shared love of electronic music. One day I was in the back of the lounge listening to Nick Drake's Bryter Layter and the singer came back and you could see his face lit up, and you could see he was a huge Nick Drake fan. We bonded over that. The next tour I did was with the Prodigy and Richie Hawtin, and the one after that was with Orbital and the Aphex Twin. During these tours there was a rave scene in the early 90s, but compared to the UK it was much smaller. It certainly existed. One of the reasons why the rave scene in the States is how it is, is because a lot of the people involved do way too many drugs. You get these DJs and performers who get really into the rave scene and then do more drugs in one night than most human beings should in a lifetime, so the burn-out rate is pretty high. In 1996 I was dating this raver girl, and she had gone out and did three hits of ecstasy, three hits of ketamine, some acid and crystal meth and I just remember thinking 'how can your body handle that?' But I guess if you're 19 years old it can handle it for a little while. Definitely that type of drug use led to a lot of people burning out"