"When Nick Cave is at his most theatrical the level of interest most people have in him is just elevated. You can feel what they were drinking, you can taste it in the air, you understand what drugs they're on and it's just from sound. It takes a lot to put the other senses into music, and he does it better than anyone else I've ever heard. He's great at every aspect of being Nick Cave, but I think when he's fully involved in story telling he's quite probably the best frontman there is. He really becomes those characters, he's able to live and breathe those people in the way only an author can; he understands them on a different level. This record has some of my favourite lyrics of all time. It's got 'Where The Wild Roses Grow' with Kylie Minogue which is a beautiful ballad, this amazing moment between one of the greatest pop stars of all time and one of the greatest songwriters of all time. It's this mashup that should never have happened, but the world's definitely a better place that it did. I got into Nick Cave late, later than I'd like to admit, when I was in my late 20s. I knew about him before, I'd heard things, but I heard this record when I was living in New York. I wasn't in Gallows any more, I was just painting, and I went record shopping one day. I was buying some Daniel Johnston records but the guy in the shop had a copy of Murder Ballads and I, like a fucking idiot, casually asked 'is this good?' He just said, 'Are you joking? Of course it's good!' So I went back home, listened to my Daniel Johnston records, made some food, then later that night put it on and was like 'holy shit!' and bought every other Nick Cave record they had."

"When Harvey Korman’s coming downstairs, before the line [about fruit cups], he shifts his cuffs and he’s very, you know, breezy — very on top of his game, whatever you want to say — he was sure he was gonna have that fruit cup. [Regarding how she got the mustache in High Anxiety:] I had been made up and I was sitting in my trailer waiting to be called and just doing nothing so I had a little black pencil. Just not even thinking about it, I put on a mustache, and all of a sudden, I got a knock on the door: “Okay, time. Come to set.” So I tore down there and Mel was there and I said, “How do you want me to play this part?” He said, “I’ll leave it to you.” I said, “Well, I did this already in Young Frankenstein.” He said, “Oh well, what do you want to do?” I said, “Well, I don’t know. I feel like in High Anxiety that I don’t want anyone to know me so I thought I’d just talk funny.” We went to the wardrobe department and they put this costume on that fit perfectly and was beautifully made. I said well let’s make the shoulders a little bit broader maybe. That didn’t work, and I had this big chest if you remember in High Anxiety. You remember that? So I thought we should put a back on to match the front, to balance it at least. That worked, that was good, but this thing about broader shoulders didn’t work. The costume didn’t look like it was mine, so by that doing that it really helped, it was very good. Then I wanted to raise the whole costume. I looked like a baby ostrich in it. My head was sticking out so I thought we should raise the dress. They just pulled the dress and everything way up. That’s what I looked like with a mustache and raised [dress]."

"I hadn't actually heard this song one before we played Carnegie Hall last year [for The Music of David Bowie concert featuring the Pixies, Debbie Harry, Cyndi Lauper and Michael Stipe]. We were the house band and had quite a few artists coming on to play, so I had to learn it. For me, it wasn't an obvious one. When I first heard it, I even thought it was a terrible song! Like it wasn't even a song! That was just my first impression of it. But it was only when I started playing it, and trying to do my own version of it, that I realised that it all fit perfectly. It was great to play live. It was just him throwing something together - it's unserious, a totally unpretentious concept, and the music just fits the lyrics so perfectly. You know, the drums are not that tight, and there are drum rolls where you think: 'Wow, that's like a beginner that's just been playing drums for six months!' But then you play it and it actually fits! It's really weird. It fits the idea of always crashing in the same car. If it had been played technically correctly it wouldn't have worked. For me, it was a good example of how everything in the backing of a song has to line up with the message of a song. I think a lot of music these days, gets into this over-produced, too-tight, no feel thing, but you can't fault it. It's correct. The dots are all in the right place, but there is no soul. Or even, there isn't a message to grab a hold of and it all falls down. It's so easy now to put something together in your bedroom on your computer that sounds like a finished record, but if you don't have those same elements there that make a good song, you may as well not bother!"