"This is my favorite film. By all accounts, the making of Godard’s first commercial movie was a nightmare for him, and you can see his own contempt written all over it. First he tells us that what we are about to see is fake, and then he proceeds to mock the commercial film industry for the rest of the movie. Some moments in the dialogue seem intentionally ludicrous, like when Paul describes his relationship with Camille through a heavy-handed interpretation of the Odysseus/Penelope myth. The stream of visual absurdities (Prokosch’s tiny book, Paul typing with two fingers, even the final car crash) discourages us from ever taking anything too seriously. Yet because Godard never tries to make us buy into a bunch of psychological hoopty-hoo, this film is devastating and feels realer as a depiction of a crumbling relationship than anything else I’ve ever seen. We’ve all known this couple: after the first flush of romance, the woman finds herself financially dependent on some self-centered, brutish mediocrity with a roving eye. We watch Camille vacillate between the horns of her dilemma in a totally believable way before making the decision to leave Paul and go back to being a typist. As the only non-cartoon character, with her convincing mix of youthful insecurity and defiant self-regard, Camille becomes the whole world of the film. The cinematography and score are perfect, and the final shot of the Mediterranean destroys me every time."

"There’s no performer like Ivor Cutler. This record is a mixture of songs and poetry and stories and the lines between them all aren’t particularly distinct. There’s also a lady who I think was his girlfriend or lover at the time, but she has a couple of short poems on it. The only thing I can think that would be similar would be if you had Philip Larkin and Bonzo Dog Doo-Dah Band on a record together. It manages to capture those two extremes. It’s also a misleading record because when you first listen to it you think its daft nonsense, and it’s not, it’s extremely astute observation that is succinctly delivered. There’s one piece that talks about sex: "I used to lie in bed with women I loved and have sex. With this woman, I lie in bed and have love, whatever we do is love. Even sex." You have that next to a song about a ludicrous fantasy story about someone saving a sparrow from a taxi driver’s boots. The imagery is wonderful and it’s truly absurd but the absurdity can distract you from how observant it really is. It also has a distinct melancholy running through it as well. Even a song like 'I Believe In Bugs' and the last line "I will feel the bugs wriggle as they eat me away" – it’s funny and it’s absurd but he’s talking about mortality and the absurdity of existence. And very Scottish as well!"

"The first two that jump to mind are both from my formative years. One is To Kill a Mockingbird and the other was Guess Who’s Coming to Dinner, both of which are films that I saw at a young age. Obviously To Kill a Mockingbird is, you know, one of the great novels of the 20th century, and a beautiful film adaptation of that that I think did a great job of… I mean, this is from a current perspective, having read the book a couple of times and read the book to my kids and seen the movie. But, at the time — I don’t know how old I was, if I was nine or eleven or twelve — but I was sort of viewing it from the perspective of the kids. The whole story is told from Scout’s perspective and the other kids, and like most kids growing up, I sort of saw Gregory Peck as the film version of my dad in the good guy standing up for what’s right and doing the right thing. Yeah, just a really well-made film with characters that I think are relatable to a really wide range of people, as all great storytelling is, whether it’s a film or a novel, or whatever it is. Something that’s accessible for a variety of ages and demographics and is something that speaks to a lot of people."

"The Graduate directed by Mike Nichols. It’s just a perfect film. And it was, I think, the first non-student real film for Dustin Hoffman. It’s just a beautiful, perfectly written… perfectly shot, perfectly acted film, where you have Dustin Hoffman who has bedded both Anne Bancroft and Katharine Ross and he breaks up the marriage. I saw it as a little kid because I lived with my mom and she liked to go to the movies. She couldn’t always get a babysitter and so now and then I would get taken to films that were quite adult. There’s not necessarily nudity, because there doesn’t need to be. The thing is so well written; the adult themes and just how screwed up adults are is on full display in The Graduate. You can tell all these people are just so damn talented, and you look at a young Dustin Hoffman and you go, “Damn, man. Look at the career you’re about to have, dude. You’ve got it.” His talent was just so huge yet so innate in that he’s not gonna fail. He’s one of those people like, “Man, you were born to act.” I’ve tried to get to Buck Henry to get him to tell me stories about The Graduate and I’ve hung out with him a couple of times. And I’m like, “You wrote The Graduate!” And he’s always very funny and kinda belligerent to me, “Ah, shut up… Rwagh, Rwagh.” I’m like, “OK [laughing].”"

"Revelatory meditations on a classic FM synth sounds. The end of an era and the beginning of one. I came to his music maybe later in my life, and he's one of those guys where you just slap your head and go "Oh man, how have I not known about this guy?" Only in the last couple of years have I approached him. He does micro-electronic stuff, kind of like preceded a lot of labels that have since flourished with that, like Raster-Noton and Editions Mego. What he's done - and I think this must be a running theme of things that I like – as far as liberating an idea from its historical context. Like Feldman and Varese, it's him taking these dance sounds, these FM synth sounds that you hear in techno even, and isolating them, turning them into this simple object which is hanging on your wall. And in doing so, it's reduced to something so pure that it's profound and it's absurd. And it's powerful and funny. It's so simple, the idea behind it. Production-wise, he has his own methodology that I'm not too sure about. It's not basic, but it's so obvious in its clarity, that it makes you ask, "How has someone not done this already?" So profound in a way. It's so simple, this idea. It's literally one pulsing sound. You understand it, but you are thinking "How do I listen to this? What is it for?""