"Number two is Kes, Ken Loach’s film. I’d already kind of established myself in television, and I loved Italian movies and all that. And then here was a genuine British neo-realist movie, which I thought was an exquisite film. It dealt with incredibly complicated social issues, which I was very much involved in myself, with my Up series, which had already started by that time. But what I thought was so beautiful about it was that he found the metaphor of this boy and this kestrel, and he told the whole tale of the boy’s life — the stress the boy was under, and the unfairness of life — through the relationship with him and a bird, which I thought was just a brilliant filmic notion. I mean, I’ve always loved his work. He was very influential on my generation — not that he’s much older than us, but I think he was very much our man, and, you know, he has a huge body of work in his lifetime. He never seems to stop. Stop! Right? Otherwise, we’ve all got to keep going, if you keep going. God."

"My first memory of jamming with Mark Ronson was sitting and trying to figure out a song called 'You Know, You Know' from this album. We were just having a bit of fun, but we played that song for two hours straight. Of all the Mahavishnu records this is the least produced, there's only five of them if you include the violin player. This record really changed my life, it opened my brain musically. I found this through Bitches Brew [on which Mahavishnu Orchestra's John McGlaughlin plays guitar]. I'd read the Miles Davis autobiography Miles while I was in high school. I didn't know anything about his music, I'd just read the book because it was there, but it got me into listening to jazz, and once I'd started listening to Bitches Brew every day, that got me into listening to Mahavishnu. It was a direct line of following the breadcrumbs of who played on what album you get into all sorts of stuff, a spiderweb of musicians."