"This is between Frank Capra’s It’s a Wonderful Life and Mr. Deeds Goes to Town. Hmm, I’m going to go with Mr. Deeds. Gary Cooper, Jean Arthur. It’s just an amazing film. It’s very funny. Longfellow Deeds is the main character, Gary Cooper plays him and he’s so appealing. I think it’s the definition of appeal. So Longfellow Deeds is this guy who lives in this tiny town, he’s makes a living writing greeting cards. Just a sweet guy. There’s a distant relative who’s this gigantic millionaire. Has a huge fortune. So this industrialist dies in New York City and they trace [him] down, he’s the only heir to this huge fortune. So they bring him to New York and now he runs this company. [But] this really ace reporter for the local paper wants to get the dirt on him, and [she’s played by] Jean Arthur. So she waits for him to come out and she acts like she’s starving, like she’s a homeless woman during the Depression. So he picks her up and feeds her some food and they start doing things together. And he absolutely falls in love with her. But, so, there’s all this dirt that’s coming out in the newspapers and they don’t know how it’s happening. But the scene…it starts very funny, but, again, it’s that heart, it’s balancing humor and heart that Frank Capra did so well, the scene in which he finds out the woman he’s fallen in love with is actually the one who’s doing all the dirt is one of the most emotional scenes in the film. And it’s so underplayed. So beautifully underplayed. He gets behind this column but you know he’s crying. And he can’t bear anyone to see him. It’s so incredibly moving and touching."

"And then, my fourth one is a comedy, and I was torn between Some Like It Hot, which I love, but my vote went to Spinal Tap, which I thought was more contemporary. It made me feel such an old man, but… One of the things about Spinal Tap — I was doing a documentary [The Long Way Home] about Russian rock and roll in, I don’t know, the late ’80s or something like that, and it was about a Russian band coming — it was around Glasnost when they came across to America to make the record, and it was about Glasnost, and the co-production, as it were, saw the closing of the gap between East and West, as it were. That’s what it set out to be, but it turned out to be a disaster. Not the film, but the whole object of the enterprise, because it split the band up, and the Russian band never made another record. They were completely disoriented by being in the West and all that. So it was one of those documentaries where what you set out to do, you don’t do, and you do something else, which is usually better than what you were going to do. The point of the story is that I showed them Spinal Tap. They fell about, and they couldn’t speak a word of English, but they absolutely got it. It was just, again, the power of the humor and the power of the images, and all this kind of stuff. I mean, we were in common ground — they never understood a word of it, but they were just laughing as much I would laugh every time I saw it. That was a kind of interesting experience for me, to see how universal films can be."

"I grew up with a lot of my dad's reggae records. I used to always buy the compilations, the Reggae Hits volumes, Ragga Ragga Ragga! We always listened to music in the car and “Murder She Wrote” really captured everything that was great about ‘90s dancehall music. The melodies were right, the emceeing was just the right tone, and the beat itself was of an era of dancehall that I loved so much, from listening to sound systems like Kilimanjaro and Addis. “What I've really enjoyed, having been in this for a minute now, is to see how styles and trends and music are cyclical. I used to think all that was BS; “Oh yeah, don't worry, this is gonna come back round”, but when I start to think, I guess it was around 2015 that there was this new sound everyone was talking about called 'Afrobeats'. I was like “Let's check this out” and to me it's ‘90s dancehall with a twist. You know what I mean? And now we've got Diadora, Kappa, Fila, all these brands that kind of had a moment, and all of a sudden it's retro, it's vintage. It's like “Wow, this is happening in front of my face.” “So to have that wisdom of what those songs were about is exciting for me. I can go in the studio and I can draw samples from a ‘90s dancehall tune, that, if you didn't grow up during that time might be lost in the vaults, because you wouldn't even know about Jigsy King, Sanchez, Beres Hammond and old school dub reggae. “Now I can pull out my tracksuit and people are like 'Mate, where'd you get that?' and I'm like '1990', this is real vintage coming out my mum's cupboard."