"This was made right in the middle of the punk thing when everyone was trying to get more aggressive, and Brian Eno went away and not necessarily invented ambient music, but certainly popularised it. If I had to just listen to one song for the rest of my life it would be '1/1'. It's not just a mellow thing - I've listened to it in the morning and it's beautiful and I've listened to it last thing at night. I've listened to it as a stimulant and a calming thing, it does something very physical, very chemical to me. I'm always fascinated by how he made that track. Did he sit there and play it live for 17 minutes? Did he smoke some dope first? I've always meant to ask him, I'm always bumping into him and I always forget. I see him having coffee in a café near me and we always have a nice little chat. He's a lovely chap. I never let onto him how much of a fan I am because that would be weird and a bit distasteful. If I ran up to him saying, 'How did you do that track?!', he'd probably start backing off slowly."

"I would say that Thomas Vinterberg’s The Celebration was probably one of the most influential movies for me to be a filmmaker. I had seen a lot of how-to movies in the past, but there was something about how unapologetic that movie was to be filmed on a video camera. They had all these rules because of the Dogme 95 rules, where you couldn’t have a tripod, you know, you can’t bring in lights, you can’t use props that aren’t already there, you can’t use music, and I thought, “Well, this movie’s going to suck.” I went to see it, and I was riveted, and it was like that moment where I kind of sat at a coffee shop — I saw it in Washington D.C., I was there on a trip — and I just sat there thinking, “The only reason you’re not a filmmaker right now is because you’re not going out and doing it, because these people just made something with a camera that’s sh**tier than yours, and it’s brilliant.” So, “The only reason you’re not a filmmaker is not because people aren’t giving you money, or giving you a break. It’s because you’re not good enough, or you’re not doing it.” So that was a very important movie for me."

"The aesthetics of it, just the way the frontier looked. The way it was shot, it made it seem like it was the land of opportunity, this new frontier, this undiscovered territory for a certain culture. We were introduced to — which I didn’t know as a kid — the people that actually lived there, or are from there. We were introduced to their lives. They weren’t just Wild Bunch, killing people. It was very heartfelt, and it wasn’t just this white man coming to save the day. It was more along the lines of he was learning the ways, and he earned, from the audience and the tribe, their trust. I believed that our lead character, Kevin Costner, became a part of the tribe, because the movie takes its time to do so, which is risky, because you can lose us if you’re going too slow, if it’s paced like a snail. But everything worked, and the flow of story wasn’t interrupted or sacrificed due to some cool moments, or movie moments that needed to keep the audience awake. They were unapologetic in that way, so I really appreciated it. There’s the whole coffee interaction, and “tatanka.” That was my s—, man. I used to love that. And the score. The score was incredible. I love the score."