"Anytime somebody’s like, “You want to watch Boogie Nights?” No problem. Carve out the afternoon. I’m ready to go. Again, story, performances, direction, music, era, subject matter — it all works for me on that one. Both as just a simple audience member who wants to check out of life and have a nice time, and also as someone who works in this industry and appreciates as an objective viewer the craftsmanship of that film. I mean, “It’s my big dick and I want to f— now, Jack?” How do you write something better better than that? [laughing] I’m constantly quoting that to friends. But there’s this thing that a friend of mine just showed me on the DVD that’s called the “John C. Reilly Files,” or “Reilly Files.” It’s basically scenes that were not used in the final edit, but are John C. Reilly-based scenes. They are incredible. It’s so cool. So many of them are — maybe my friend who showed it to me, maybe he’s lying — but so many of them are cut scenes during the recording sessions. Things like that, where he’s the ultimate wing man. You know what I mean? He’s repping so hard for Dirk in the recording studio. It’s a bench marker. I would be interested to see what other films came out in 1997. Like what really holds up. Like, Magnolia still holds up for me. Punch Drunk Love still holds up for me. PT Anderson — those movies. I went back and watched There Will be Blood maybe three or four months ago. Just riveting. Those movies don’t get old for me. There’s so much to digest in them."

"One of my favorite films of all time has got to be Mary Poppins. Well I was old enough to remember it when it came out, but I don’t think I saw it in the cinema, I think I saw it when it eventually came on television. In those days, you had to wait about six or seven years before a film got from the f–king cinemas to the television, and it being Disney, they never actually released their films. It was a very clever policy: They just re-released them every 10 years. I think it’s one of those movies. I was having a very depressing time recently working on a job. I was feeling particularly bad and I put the television on on a Sunday afternoon, and Dick Van Dyke was singing “Chim Chimney” — it just lifted my spirits. Everybody criticized his Cockney accent — and even at the time I probably joined in — and you can criticize his Cockney accent, but you cannot criticize his brilliant comic dancing. It’s f–king wonderful. Oh, it’s wonderful. And the quality of the work: The beauty of that film, the simplicity of it and the way it was made and directed; the charm. The way it appeals to people — it’s the old cliché, you know: Eight or 80. It’s a wonderful piece of work. And it’s magical. It’s one of those films, you know, that you can dip into. If you’re ever feeling low, stick it on and you’ll feel much better. If you haven’t got any illegal drugs, put that on and you’ll be alright. [Laughs]"

"Another movie that takes place in the Edwardian era, but in the country where Edward was actually reigning. It was an important movie for me as a kid and it continued to be something that I revisited again because it’s just good. Good storytelling, quite beautiful. You’ve got to love the matte paintings of the London rooftops. You’ve got to love a movie where a witch is your nanny. Obviously, no challenge to Dick van Dyke’s Australian Cockney accent, but his performance in that movie is really incredible. He is such a good physical comedian and when they’re in the chalk painting — which is also just lovely, the live action mix and the animation — he often has the same dance choreography as Julie Andrews. And he interprets it incredibly differently. It’s not that he can’t do them, it’s that he’s interpreting them in a different way, for humor, with his body type and so cleverly. It’s a movie where kids have power. They understand some things that their Edwardian dad doesn’t. And we use a Mary Poppins-esque weathervane shot in The Lighthouse. And then also, as much as it is a very, very satisfying narrative, the movie’s not without mystery. What is Mary Poppins’ backstory? What is her relationship with Bert? She creeps me out. Like when her reflection in the mirror keeps singing after her. The way she’s a little bit austere with the children and then the next minute she’s super cuddly, it is a little creepy. And then it just isn’t her, but when the kids get lost in East London, and there’s the dogs barking, and the old beggar woman who’s like, “Come here, children” or whatever. That was incredibly terrifying as a child."

"One of the first records I ever bought was Chubby Checker's 'Twistin Round The World'. He was a cultural phenomenon because the twist in those early days was a really big thing. He had an afternoon TV show every day called where he would show people how to do the twist. All it was was a green screen in those days and him doing all that stuff. I studied him, like anything else. Ernest Evans was his real name, and Kal Mann wrote those records, but the irony is that 'The Twist' was not originally recorded by Chubby Checker. It was recorded by Hank Ballard And The Midnighters, that was the original and he sounds just like Chubby. Chubby changed his name from Ernest Evans to Chubby Checker after Dick Clark's wife says, 'He reminds me of a young Fats Domino'. Fats, Chubby. Checker, Domino. Again, 'Twistin Round The World', with the globe behind it and everything, it showed me that this was a global phenomenon. That told me something. That's when I started to be aware that there are songs, then there are artists, and then there is the informational gathering of how you tell people how big you are, how famous you are. I remember later on that I saw an advertisement for Sabbath in Rolling Stone, and the ad said: 'Black Sabbath: Louder Than Led Zeppelin', I thought that was genius. It didn't say it was better, just louder. Chubby Checker had so many hits. Obviously 'The Twist', 'Let's Twist Again', 'Pony Time', 'The Fly', 'Limbo Rock', lots of stuff! He must have had 20 hits. Great music isn't just songs; it's also a social tool, like a favourite song that people used to get married or something like that."

"It's funny because it's one of the first classical records that I would have given some time to. I liked it because it felt obviously about something that I could understand and that it had some good tunes on it, in fact it has just one or two main themes and variations on them, as the name suggests. This one has a special place for me, as it's sort of helped me through. 'Nimrod', where the theme is at its purest, is just one of the most amazing pieces of music in history. It hits every kind of right emotional pitch at the right time. I can only listen to once every couple of years, because it just makes me cry, it's really astonishing. I think I listened to it when I was about 17. I am interested in classical music - I could rattle off... The people that seem to do the most for me are between 1900 and 1940, it's Stravinsky and Ravel, Shostakovich. Fauré is a recent acquisition, but I don't want to sound like a dick-ponce [laughs]! I think it's simply because it's where the Romantic movement is morphing into modernity and after the war, it really goes completely mental and I can't handle most of that. Although I do like a few post-modernists like Brant and Glass, people who are a joy as well. It's that period in the twenties, though, where there was some crazy stuff going on. Where they're really using dissonance and incredible syncopation that had never got a look in - for me, that's really enjoyable, where everything's going a bit mental. But they had still got good tunes, that's very important for me."