"Well, it has a lot of what makes Citizen Kane amazing; you know, the incredible camera angles and perspectives, and the sense of history — American history — great performances. But to me, it’s a much juicier story. So it’s from a Booth Tarkington novel — which I’ve never read — and it’s the story of a young man who’s played by Joseph Cotten — who you know is also in Citizen Kane — who will go on to become the man who invents the automobile. But at the time, he is the ruler of our heroine, and he does not win her hand because he’s not a big deal enough — not from her point of view, but from her family’s point of view. Because they are the magnificent Ambersons; they are the richest, most important family in town. And instead she marries someone that she doesn’t love and who’s not as impressive a person. So she takes all that love she doesn’t really have for her husband, and pours it onto her son, who becomes a spoiled nightmarish brat. And it is the downward trajectory of the Ambersons — as Joseph Cotten’s character, in his ingenuity, makes all these important scientific advances, and he gains money. And the Ambersons spend their money terribly and they’re dissolute. And all this tragedy ensues — finally, finally, finally at the end. When he’s a baby — when he’s a young boy — he’s so spoiled. And they’re all waiting for the day when George Amberson will get his comeuppance. And finally, everything horrible that could happen to a person happens to him. But by the time George Amberson got his comeuppance, the people who had so longed to see it were no longer around. And in the end, he finally, finally, finally comes to his senses and embraces his mother’s true love and accepts help. It’s just a beautifully told story of star-crossed lovers; but also how when everything is going for you — and you think you’re so great, because you come from people who’ve told you that you’re great — but actually, if you can’t fend for yourself you’re gonna float to the bottom pretty quickly."

"We're keen on the White Album because of the way we're making a lot of this music now. I feel like they had a lot of music, and they weren't that worried about the very nuanced production they had delved into with George Martin. It's one of those records that's kind of sloppy, recorded in strange rooms. It has this weirder, drug-damaged vibe about it. For me, I think that The Beatles could not be any greater of a group without a song like 'Revolution 9'. I wouldn't have embraced them as much. Even though I was very young I always thought 'Revolution 9' was just as valid, just as listenable, just as perfect as 'Strawberry Fields Forever', something that has a lot of structure, melody, lyrics. I didn't realise until later how retarded that was. When we started writing songs and learning how to produce records we started to see what a strange, disturbing collage it is. Luckily, that was what I built my world of creating music on: thinking anything that you wanted to do was possible. They'll have these experimental moments, and even Paul McCartney, who's perhaps not as artistically experimental, there's that thing, [sings] "Can you take me back where I came from" [the fragment that follows 'Cry Baby Cry']. [It's] Thirty seconds of him not really having a song. Listening to that when I was young, somehow, is the cornerstone to me remembering that anything's possible - that you don't have to worry about thinking everything through before you do it."

"It’s corny but dark, dark, dark in spots. It was really dark when Jimmy Stewart is having his existential breakdown, wandering the town, having been given a chance to see what the world would be like had he not been there. We all kind of wonder that on some level — if not consciously, it’s probably part of what’s inside us. Something that is interesting about that film, there’s a character actor named H.B. Warner — he’s in all Capra films, playing a wide variety of roles. In this one, he plays the drunken druggist Mr. Gower. There’s a scene early on where Jimmy Stewart’s not even in the film yet. Young George has injured his ear in a sledding accident and Mr. Gower, drunk and depressed, accidentally sends George out with a prescription of poison to give a patient. When he figures it out and goes back, Mr. Gower is incensed, and beats him savagely. He hits him in the ear, and then when Mr. Gower realizes that the kid has saved this woman’s life and come back and he’s made a horrible mistake, he tries to embrace the boy. The boy’s fighting and the druggist is trying to comfort him, and himself at the same time. It’s a scene that if I think too hard about it, I’ll weep. It’s such a beautiful moment between two human beings. The kid was a great kid actor, but H.B. Warner is such a master, and I relate to character actors in a lot of ways. He was this guy who just bounced around from project to project, making everything he does, every story, richer for his presence. I have a lot of respect for that."