"I have to include a Woody Allen film in the list. I’m not sure which one, though. I love him dearly. I mean, he’s such an inspiration to me. And again, this list could change — and particularly, his movie choice could change tomorrow or this afternoon. The one I always love rewatching for pure comedy, for just gags that really resonate with me — which he didn’t direct, but it’s based on a play that he wrote — is Play It Again, Sam, which just has a couple of comic set pieces that really amuse me. I can watch them endlessly. And it’s sort of one of those movies that I always make other people watch or I loan to people. If they take as much joy in them as much as me, then I know that we’re going to be friends for life. [Woody Allen] plays a film critic, funnily enough, and he is sort of given romantic advice by the ghost of Humphrey Bogart, and Bogie appears throughout in places to offer him love advice. But as he sort of points out, you know, “I’m not you.” It’s him trying to sort of romance girls and meet women after his marriage falls apart. But it’s very, very funny, and it just — a bit like After Hours, in a way — it sort of captures the desperation of single men, single men who don’t feel comfortable chasing girls. It has loads of very funny set pieces. It has a sequence where he’s setting up his apartment for a blind date, which is just, to me, one of the most inspired comic routines I’ve ever seen. It’s physical, but it’s verbal as well; it’s sort of him at his most charming, effortless. It’s really good."

"There's a reason that I left this one for last. I put it in this position because it seemed like the natural conclusion to this collection of songs. It's the climax, it's the one that gathers everything up and then sums everything up emotionally. It's the finale - everything's building up to this moment. There's centuries of pain, tragedy and - again - loss in his voice, it's undeniable. “The lyrics are based around one extremely simple metaphor, but so much that's good in art, whether we're talking about visual art or songwriting or performance art or literature or poetry, so much that's truly powerful takes one easily understood idea and then brings depth to it. That's what's happening here - it's a metaphor that you instantly understand. It's like looking at a Picasso painting; you're immediately struck by the image, but there's so much more going on beneath the surface. You can listen to it hundreds of times and not feel as if you've exhausted its emotional content. “We were talking about Trish Keenan earlier, but she seems like one of the exceptions to the rule I subscribe to, which is that you should be able to understand everything purely from the performance and the lyrics. You shouldn't need to know anything about the artist's personal life. Paul Robeson was this gargantuan figure of the twentieth century; there was that intelligence, integrity and, for the most part, nobility to him, going as he did from singer to actor to petitioning the President of the United States, but you wouldn't even have to know the slightest thing about him, and you'd still have that instant reaction to this song; there's so much emotional power to it. “I don't know how I'd deal with life if I didn't have music like this - to help me go through it, and to help me understand it.”"

"I think it’s probably one of the most inspirational movies for me because of Paul Newman‘s performance. I think that is, to me, some of the best, [most] controlled acting in a movie. I think that he has this incredible likability. Even though he’s a drunk, washed-up lawyer, you’re still rooting for him from the very beginning. I’m that sort of weird guy who will watch a movie almost every day if I can. It’s harder when you’re working on the show. I buy a lot of movies on used DVD so I can have certain scenes. I was really looking for things to inspire me. When I got out of college I was waiting tables professionally [and] couldn’t afford to go the theater [every] night. I think those great movies can actually make you feel a certain way. Not only emotionally, but if you’re in this business, it’s one of those things where you see someone do something that good and it buys you a year of energy. That’s what I was really looking for. It sounds so cliché,[but I wanted] to bask in the glow some of these amazing performances, like [those of] Dustin Hoffman and Marlon Brando. But it was also fun. To get back to what I was saying before, that 1970s raw energy, it’s almost frustrating now that people aren’t making more movies like that because people won’t go see them. Even Away We Go is, in a way, a tribute to the 1970s movies, too, but more of the Hal Ashby thing. Again, I don’t think people are making movies like this, so for Sam to do it is incredibly cool. And the fact that my name’s on the poster is totally surreal."

"I can’t really remember when I first heard this song, it was probably on tour at some point with Supergrass, but I heard it again a year or so ago on the radio on 6 Music and I remembered what a cool song it was - ‘Oh fuck yes, I know that track, I’m going to listen to it again.’ I heard The Fire Engines on 6 Music recently, their song ‘Big Gold Dream’ and again I remember hearing that over the years and thinking ‘fuck, that’s really cool’, it really reminded me of early Supergrass as well and then you hear the new wave punk thing and all the bands that The Fire Engines must have inspired. “We Did It Again’ satisfies that whole kind of throwaway feel to a song. I love the beat of this and the pace of the track. It’s my kind of drumbeat as well, that motoring, 1974 German drumbeat. I’m not really a big Soft Machine fan to be honest, I haven’t got loads of their records, but I really like the vibe of this. “I think it’s inspiring in terms of way that it sounds and a repetitive lyric is always good, I always love a repetitive lyric. It’s the attitude of track, that’s another thing that jumps out at me when I hear something, the attitude. This is kind of irreverent and offhand and I like things when they’re throwaway. They’re not throwaway in the sense that they’ve not been worked on a lot, but this is a great one for me in that if you can deliver something that you’ve worked on and it’s finessed but it sounds a bit throwaway, I think that’s a great combo."

"I think one of the main reasons I picked Abattoir Blues and Lyre Of Orpheus was because, as a double album, you get more bang for your buck. Abattoir Blues has a more gospel feel to it, background vocals and big crescendos. Lyre Of Orpheus was generally a quieter record except for the title track, which is one of my favourites. I love the lyrics to that song. One awesome thing about Nick Cave is the darkness and the humour in his stuff. On Abattoir Blues, I love 'There She Goes, My Beautiful World', 'Hiding All Away' and 'Nature Boy'. Just good tunes man. At this point you can hear the Warren Ellis influence. I've always been a Nick Cave fan, since The Birthday Party. My roommate at the time, Charles Peterson [Sub Pop photographer], had a copy of Prayers On Fire and I've been listening to and following Nick Cave ever since then. First time I got to see him he didn't play Seattle, so me and my friends drove three hours north to Vancouver and that was on the First Born Is Dead tour. My favourite ever Nick Cave lyric was going way back to 'Deep In The Woods' [from Mutiny/The Bad Seed] - where it ends with the line, "Tonight we sleep in separate ditches"; that always cracks me up. 20,000 Days On Earth was the best music documentary I've ever seen. It didn't follow the normal " and then he did this and then he did that" of those Behind The Music narratives, it was a surreal and cool peak in to Cave's world. Something I learned about him that I didn't know already is that he likes to eat pizza in front of the TV!"