"Do you know that film Empire Records? It's got Liv Tyler and Renée Zellweger in it and it's a very 90s’ coming-of-age movie about these kids who work in a record shop. I used to be completely obsessed with it, I wanted to be Liv Tyler and I wanted to have her fluffy jumper. They used to put loads of sugar in their coffee and when I was fifteen and starting to make coffee for the first time, I used to put ten sugars in it, because that was what the kids in Empire Records did! This song comes on at the end, just as all the characters are dancing together. It’s so lifting and so fresh. There are no other songs in the world where an accordion sounds so good. “I've listened to other songs by The The but I'm much more of a song person than an album person. I'll make playlists and go back again and again to the exact same song. I feel like they've got a couple of other bangers, I can't think what they're called, but 'This is the Day' sounds exactly like what it is. It sounds exactly like what they're singing: ""This is the day when things fall into place!"" “It's also a song that me and Celia really bonded over when we first met. We both realised at the same time how much we love that film and we both have it as our 'wake up in the morning and pull your finger out' song."

"As with Bresson, I could have picked almost any Godard flick. I went for this one because it’s the one Criterion carries that I’ve seen most recently. Also, the filmmaker (who credits himself in this movie as “JeanLuc Cinéma Godard”) could do no wrong in this period of fifteen films in eight years, starting with Breathless in 1959 (though I prefer his most recent, late movies). As is often the case in Godard films, characters in this one come to a bad end. The director has a deep, fatalistic, despairing streak. Truffaut, who conceived the original story for Breathless, described how, when at the end of that movie Belmondo is shot, Godard wanted one of the cops who’s responsible to shout to the other “Quick, in the spine!”—but Truffaut persuaded him it was excessive. While, again, what’s really striking about Band of Outsiders is the sheer thrill of life in it. It’s so pretty and overflowing with life it hurts. Even when the director is boring or a buffoon, it’s moving and happy to see. You feel like he wants you to come out and play with him. It’s inspiring, the way a guy could have Godard’s grasp of cinematic “language” and then just say to hell with it and do whatever he feels like: run away to the south, start dancing, turn the sound off. His sensibility in that eight-year period reminds me of Frank O’Hara more than anybody else. Godard is a great poet—and I mean as a writer, of film reviews, etc.—as well as a filmmaker."

"I could have chosen I, II, III, IV, Houses Of The Holy or Physical Graffiti. Not totally sure why I chose this one, but it starts with ‘The Song Remains The Same’ and ends with ‘The Ocean’, so it almost doesn’t matter what’s in the middle! With those bookends, it was always going to be a classic. But of course there are things I like in the middle, or else it would be a shit sandwich. Every time I get on guitar I play ‘Over The Hills And Far Away’. I’m not a fan of ‘The Crunge’. ‘Dancing Days’ is like an early version of ‘Kashmir’ and the album’s got some reggae on there. ‘No Quarter’ is a great thing to wake up in the morning to because it sort of builds and builds and builds and then sort of scares you out of bed. And ‘The Ocean’ is what I always play on the drum kit - I think if anything Led Zeppelin is defining what rock drums are supposed to be. And Jimmy is a god – a golden god! And hands down my favourite guitar player of all time. I could just turn off the sound and watch his fingers I’m that obsessed. He never seems to play the same thing twice when you’re looking at live footage. He’s always raucous and doing battle with his guitar, instead of just commanding it. I like to watch people that don’t have amps that do the work for them."