"This one is the opposite of eclectic! I was a Cult fan anyway. A lot of people at school were into goth and I wasn’t so popular because I was into rock, but I felt like the Cult fell right between the cracks of those two scenes. And then there was the Manor Sessions and the stuff that they recorded for Electric that was recorded in the more traditional cult style. And I love the story of Rick Rubin telling them to throw all that stuff away and to use Les Pauls and simple sounds – basically trying to make them sound like AC/DC. A lot of bands tried to sound like AC/DC, but the Cult doing AD/DC is its own thing, and it’s really brilliant I think. The first band I was ever in played ‘Lil’ Devil’ and that’s a pub classic, and if you’re writing pub classics then you’re doing something right I think. ‘Wild Flower’ is definitely the one for me, I love that song. The way the drummer [Les Warner] approaches it... it’s like, you know exactly what’s coming, there’s only one fill in it that’s unexpected and then you listen to it twice and you know when it’s coming. But every time the chord changes, he pushes so that he comes in slightly before the bar. And that’s actually brilliant. That’s how all rock drummers should approach rock drumming. It’s a masterclass."

"The first one is Working Girl. I love that movie, and I think all the female characters in it are pretty amazing. I love watching Melanie Griffith’s transformation. Her wardrobe and her makeup is amazing, because it’s the ‘80s. It’s unbelievably awful; you can’t even believe that people used to think that was okay to dress that way, or that other people found it attractive. Joan Cusack is amazing in it. Her eye shadow is so blue; it’s horrifying, and you also can’t look away. Sigourney Weaver is a great villain in it, because she also has moments when you, I don’t know, you kind of like her… and then you don’t in the end, of course. But she’s a very interesting, strong character. Even her tone of voice and the way that she’s super sweet to everyone; it’s almost like Meryl Streep in The Devil Wears Prada before she did that. You know, kind of the bitch with the huge smile on her face. So I love that movie. If I turn on just the last five minutes, I burst into tears. [laughs] Joan Cusack stands up and is like, “She did it!” and that Carly Simon song comes on, and I just feel strong and inspired, and I always cry. It’s like a happy cry. I’m surprised that it still makes me cry, but I’m always just like, “Yes! This is incredible!”"

"How about a comedy? The Devil Wears Prada. I love that film. I love Meryl Streep, along with the rest of the world. She’s the bad guy in this film, so to watch Meryl play a bad guy with all of the layering and the subtlety, still you love her in the end. It’s just wonderful. I love the couple of speeches in there ? Stanley Tucci has a couple of speeches in there, one of which is to Anne Hathaway. Anne comes in to him and tells him, couldn’t she be given credit for trying? And he goes off on her about the value of trying and whether, in fact, she does deserve credit for trying. Great, great speech. Then the other speech I love is the one about the blue sweater, where Anne Hathaway thinks she’s underplaying her fashion sense by wearing sort of nondescript, underplayed, like she?s not going to be one of these fashionistas, and Meryl Streep goes off on her about how many hours were put in by designers crafting the kind of underplayed, nondescript look that often people are… they try to represent themselves by looking like they don’t care about how they look, and they just kind of throw something together. She goes off about this blue sweater that Anne Hathaway’s wearing, and I just thought that was brilliant, and in the mouth of Meryl Streep, it was even more on the mark."