"I can't say enough about this album. I heard that when The Stooges came out everyone thought they were retro garage band not realising they were pointing the way forward to punk. Every song on Is This It is amazing. I played 'Modern Age' for my daughter the other day, and just for that song alone it could be one of the greatest albums. I was there for the making of the record and I was so blown away by their dedication to making this perfect music and executing it perfectly every night. It was crazy. These guys would really yell at each other if they missed one chord or beat. They were perfectionists. They were the first band of my age group who were great. There's a level of precision that The Strokes brought to making their music and their approach to it – the way Fab tried to emulate a drum machine in his playing – it feels obvious to people now but it was counter-intuitive at the time, no one had done that. Everything about Is This It was a statement in the opposite direction to what everyone else was doing. Before this the trend was for people make albums that sounded like they were performed in arena, they're soaked with reverb, Is This It is this weird insular record with the distorted vocals. People were confused by the decisions that were made when it was made when it came out, but now you hear it copied infinitely. It's funny that for a band that were criticised for being retro they've now come to define their own times."

"It's his first solo record. To me, in a way, it is a funny record. He is such a talented musician and it is quite a modest record in that it is stripped-down – he plays everything on it – and it is just drums, guitar and bass, and, of course, vocals. But, even though he stripped it down you cannot strip away the fact that he is just supremely talented and has got such an incredible use of melody and hooks. I love the attitude. He had a rule that he could only do five takes and when I was getting to know him and was completely in awe of him, I remember asking him ""but what if you didn't get a good enough take?"" He just laughed and said, ""Well, we just put loads of reverb on it"" and I thought that was such an incredible attitude to have. Also, it is a Welsh language record and although Welsh and English are equally my first languages, I have always struggled writing in Welsh. Gruff has just got this ability to write these lyrics that are so meaningful but whole-sounding and faithful. I am totally in awe of his Welsh lyricism. For me, Welsh is such a difficult language to write in and this is my favourite Welsh language record. Since I was 13 I have been a huge fan of Super Furry Animals and of Gruff. He's just an incredible man and being around that wonderful playful attitude in his music is something I am so glad I was exposed to at that point in my life."

"I know three right off the bat. Planes, Trains, and Automobiles. How’d it influence me? Big Steve Martin fan. Knew I wanted to be a comedian when I was very young. And my sister brought the Wild and Crazy Guy album home, which I still have in my office. When Planes, Trains came out, that was the first film that really I looked at and said, “I’d love to, someday if I’m lucky enough to have a comedy audience, bring them into film and make that kind of movie.” Big heart, big laughs. And, of course, Steve Martin at the car rental shop, you know, “I want my f–king car right f–king now.” Unbelievably funny movie. Of course, John Hughes, John Candy, one of my favorites ever. Can I take two minutes to tell a story? Awesome f–king John Hughes story. [My Best Friend’s Girl director] Howie [Deutch] was directing Some Kind of Wonderful and the studio wanted a four-page rewrite on a scene. So Howie’s all, “I can’t figure out what to do.” Calls John, says, “Can you come over and help me write these four pages?” For two-and-a-half hours they’re just pacing around, John is just smoking incessantly. Howie says, “I need to lay down. I’m beat. I’m going to sleep a few hours and then we’ll finish it.” Then he says, “Dane, I wake up at about five in the morning and John is scribbling like crazy. He hands it to me and says, ‘Read this. It’s only 50 pages right now, but read it. I’m calling it Ferris Bueller’s Day Off.’"

"This one's not quite as contemporary as Electrelane – in fact, that's putting it mildly! It's an old folk song that dates back to the seventeenth century, so it's been passed down through the generations. “This is the version that fits the mood of this collection of songs the best I think. It's another one about losing somebody; it's about a young woman who's lover has been kidnapped by a press gang and taken out to sea and she's not going to see him again - it's a terrible, terrible tragedy. “Steeleye Span are a funny band; they came out of a scene that's not too far removed from Kevin Ayers and that electric folk movement of the late ‘60s and early ‘70s. They evolved into something that perhaps wasn't so cool later on - there's a record called All Around My Hat that's a bit Alan Partridge - but those early albums are really great. “I definitely have a personal connection to ‘The Lowlands of Holland’. It's an unusual song, actually, in that I can never figure out whether it's Scottish or Irish in origin. It doesn't really matter, but it has significance for me because I live and have my studio in Dumfries and Galloway, and in the song, Gabe Woods is singing about the man from Galloway. “So I imagine it's where I am and when I'm hundreds or thousands of miles away from home, I hear that song and I imagine being back in Scotland. It generates a degree of homesickness and wistfulness and it's good to feel that, because it reminds you of what home is, and why you should return there.”"

"For me, it is the most alive and electric filmmaking. [Martin Scorsese is] obviously one of the greats, but he brought that ’70s filmmaking to 1990, which… I can’t believe it’s a 1990 film. I love gangster films and I love The Godfather, but I am a Goodfellas girl. I thought there was just so much captured in the masculinity of it and the relationships between men, the family dynamic, the structure of it, the mafia, that sort of hierarchy and camaraderie. I just think it’s one of the most exciting films ever made, of course. The writing is extraordinary, as is the improvisation of it. And seeing what he puts in a frame during a scene, like Joe Pesci telling the story, and you think it’s a funny scene when you realize it’s really just like these two setups over and over and that these… You sort of see the layout of the guys in the background who’s listening and the tension that he’s able to create by just hanging on something. That was something that I was trying to bring into [Hustlers]: in terms of how he treated violence, that was something that I felt about how to treat the nudity, in a way. So it was a touchstone for me in how to, not just approach anti-heroes or an underworld, but also just… What’s the difference between the gun and a body as being used, being weaponized? And an outfit, a bandage dress, being weaponized, you know? And the role that each of them play in that hustle and in the group."

"Alex Guinness, to me is — forget De Niro, forget Pacino — he’s the man. Alec Guinness is such a quintessential English actor, but he’s also a brilliant actor. He’s just the best. And The Man in the White Suit is just such a beautiful, charming movie. It’s about a man who invents a suit that you don’t have to wash. It’s a whole movie about it! It’s something that some of the more flamboyant directors should think about remaking. [Laughs] It’s about this guy who invents this material that keeps white all the time. It’s directed by Alexander Mackendrick, a fellow Scot, and the opening title sequence is amazing. Mackendrick is a brilliant director. I just enjoy his work; I enjoy the pace of his work. I think he’s really overlooked. He did The Ladykillers and Whisky Galore, and The Sweet Smell of Success. A lot of really cool movies. Alec Guinness, to me — forget Star Wars and all that — he’s just the best. And to work with someone like Alexander Mackendrick, who really understood what a story meant…it’s funny, because on IMDB the movie is listed as sci-fi. It’s not sci-fi, that’s ridiculous! It’s actually a very nice tale, about inventing the thing that nobody wants. Like a car that doesn’t need petrol. The thing that people don’t want because of the money [the auto industry] could make off of you. If you say hey great, I’ve invented this car that doesn’t need petrol, and then there’s a silence, and then there’s a gunshot, and you’re dead. It’s that kind of thing."