"I love Interpol. They're my favourite modern band, I suppose. Are they considered contemporary? It was a decade ago but I think of them as a new band. Well, they're not part of the 90s anyway. 'NYC' manages to be simultaneously dirge-like and uplifting, and I don't know how he manages to balance those two things. I love the lyrics in it, 'I tried on seven faces before I knew which one to wear.' For me the art of great songwriting is when you're fascinated by the words but you don't know too much about what it's about. It's about giving but not too much. As a listener you should have to join the dots. It's a perfect record for where it came from too, it's got that feel that's very urban and alienated. I really like listening to it on the underground. The drone of the tube trains and the slightly sort of neurotic sense that you get when you're on the tube is perfect for Interpol. It's funny you should say they're like a New York Suede because when they came out people did make that comparison."

"Another favorite movie of mine is The Wizard of Oz. It’s just a beautiful movie all the way around. It would get a little dark and scary for me as a kid when those flying monkeys came out. Hoo-Hoo! Yeah, the flying monkeys kind of threw me off. I’d start watching the movie at three o’clock, by five o’clock the movie’s about to end, and I’m scared and dinner’s ready — I’m giving you too much info. When Dorothy first lands and the house falls on the shoes and the feet curl up, and then she goes walking and finds all these different characters — all of that was beautiful — gorgeous. Matter of fact, it was straight-up genius and it hasn’t been matched… It was too incredible. Who ever penned that was genius. And the director was genius. And the Lion was genius. And the Tin Man was genius — everything about it. I love all the characters but Dorothy was the best character. She was everything. She was a great singer. She was a great actress. She was kind. She wanted to take everybody with her."

"The thing that makes The Vanishing so chilling is its unorthodox structure. It starts with a girl being kidnapped at a service station while her boyfriend waits in the car. Then the story picks up three years later with the boyfriend still searching for her while her killer monitors his movements. From very early on we know who the killer is, and we’re fairly sure that the girl is long dead. What makes the film special is that it retains its tension despite giving so much away so early on. There’s an incredible balance of likability and abject coldness in Bernard-Pierre Donnadieu’s performance as the villain; the character is a seemingly respectable family man who, unbeknownst to his wife and children, is in fact a textbook sociopath. Watching him as he patiently plans out the crime makes us feel like we are watching a car crash in slow motion. We know there’s nothing we can do to stop what’s going to happen; in fact it’s already happened. Stanley Kubrick cited this as the most terrifying film he had ever seen. And I can see why."