"This is probably my favorite film in the whole collection. It’s a solid kick in the seat. Stellar staging, camera, choreography. Every inch of this film has a pulse. It’s the story of a director (Roy Scheider) who, at the end of his life, is editing a film and mounting a production. He knows he’s dying, but he doesn’t engage with that fact. That’s exactly how I would like to go: deep in my work. There were at least two periods in my twenties when I listened to Ben Vereen’s closing number, “Bye Bye Life,” multiple times a day for months on end. Looking back I don’t think I was having the best time in my head, but the song was very danceable."

"I love all the early stuff - the work rate was insane. In the time we took to do two hi hats on Hysteria they'd done an entire album. Mott was when they really got it together. I didn't think the album they did with Bowie - All The Young Dudes - was a great album. It had its moments but you could tell Bowie had put all his efforts into the one song: the rest of it was a little bit thin. Cut to a year later and they're in on their own and they're basically pushed to the deep end - sink or swim. Everybody in the media had said 'what are you going to do without Bowie?!' but Ian stepped up to the plate, he really did. He came up with truly brilliant songs. Stuff like 'Violence' was taken to a completely new place, with Graham Prescott playing violin. He'd worked with Elton John. Then it ends with the most beautifully understated song 'I Wish I Was Your Mother' - the lyric, the title even. It's a really well made record. I remember Mutt used to test speakers with 'All The Way From Memphis'. As did Roy Thomas Baker, as a matter of fact. They proved they could stand alone with this one."