"This 1971 album by Hollywood arranger Jimmie Haskell is a rare case of the Topographical Album. It reimagines a future sovereign state of California in the wake of a catastrophic earthquake along the San Andreas fault - creating a gigantic inland lagoon where most of So-Cal sits today. If you're a Mapster that's into Maps - then this is the record for you - and from that perspective this has the greatest sleeve ever made. (Folds out into a giant map of said post apocalypse America). For heritage rock completists: this record features a cover of the Band's 'The Night They Drove Old Dixie Down' and Joe Walsh ( who would soon be joining the Eagles) features heavily on a couple of tunes. Generally though, Approach with caution - even though it's a fun record and a bold attempt at a new musical micro-genre, it also has the faint unwelcome smell of the rock opera."

"My third film I want to say is highly recommended — and I’m sure many people have seen all these films, but I’m gonna tell you why — is Pulp Fiction. Pulp Fiction was the first film to me that had a descrambling formula of storytelling, accompanied with the power of perfect dialogue. This moved me artistically. I remember watching this film for the first time in the movie theater, and seeing the character get killed, and then seeing the character come back… He was my favorite character, right? It was John Travolta; at the time, I’m a big John Travolta fan, and Sam Jackson was just breaking out on the scene, but I loved him in the movie as well. But to see the story go into its own twists and turns really resonated with me as an artist and kind of related to the way that hip hop tells our hip hop stories. That’s why I suggest that movie. It descrambled the formula of Hollywood storytelling."

"In My Voyage to Italy, the documentary that we made about Italian cinema, we started with this picture. For me, it really was the beginning. I saw it for the first time on television with my grandparents, and their overwhelming reaction to what had happened to their homeland since they left at the turn of the century was just as present and vivid for me as the images and the characters. I was experiencing the power of cinema itself, in this case made far beyond Hollywood, under extremely tough conditions and with inferior equipment. And I was also seeing that cinema wasn’t just about the movie itself but the relationship between the movie and its audience. Fellini said that when Rossellini was filming the Po Valley sequence, he acted on pure instinct, inventing freely as he went along. The result—in that episode, and in the Sicilian and Neapolitan and Florentine episodes as well—is still startling: it’s like seeing reality itself unfolding before your eyes."