"Magic. Weird, wilful. They obviously didn't know quite what they were doing. It's splendid. I saw them twice in '72, once when they first came on tour and it was dark, the audience didn't even applaud until the DJ put 'Virginia Plain' on at the end, it was astonishing. The second time with the whole outfits, the choreography and a celebration of success. Fantastic record, great lyrics. All of these things have great lyrics, of course... apart from 'Hallogallo'. When Wire supported Roxy Music later it wasn't quite what we thought we'd signed up to. I loved what they did with Eno, it was the combination, the clash... the power of Paul Thompson, all of it, the imagination. It's understanding, and putting it into practice. It's so wilful, it's quite sexy really."

"I love Banana to bits, but the third one is my favourite, it’s the one that I play more. I don’t know exactly what it is about it. I bought their albums in order, but there was something about ‘Candy Says’ and ‘Jesus’ – maybe because I’d just got the White Light/White Heat album I wanted proper songs, and he delivered big time on this one. Even ‘Murder Mystery’ I like. I’m not the biggest John Cale fan, his voice gets on my wick. It was just at the time that Ziggy ended, it almost broke my heart. I had these magical split-second things – it was like being in love, but with someone from Venus, and then Lou came along and I knew he would get me through it."

"I’d probably have to throw in the Sergei Bondarchuk War and Peace from the ’60s. I remember seeing that with my step-dad when I was about 15. The scale of it and the kind of dramatic style of old, expressionistic use of the camera, that led me then to look at things like Ivan the Terrible. I just thought they were amazing. No one’s quite touched it since. When you look at it, the only thing that’s dated is probably the font they used for the titles — it sort of says it’s a bit ’60s, but the rest of it you just go, “Wow, this guy played Pierre as well as directing it.” And there’s not one CGI soldier, you know: they’ve literally got 50,000 troops in the back of shot."

"That to me is the most romantic film of all time, and it makes me cry whenever I watch it. I think that I can credit that film for my hairstyle on Seinfeld back in the day, because I thought Helena Bonham Carter was so exquisite – because she was. And those costumes and that love story, which was so restrained, which made it feel so much more romantic. It’s a very moving story about the love between two people, and I just adored it. And Daniel Day-Lewis gave the most remarkably comedic performance. If you go back and watch that film, which I encourage you to do because it truly holds up – I watched it recently and I was bawling my eyes out – but Daniel Day-Lewis is so f–king funny."

"On Christmas of 1994, I was fifteen and had just come out to my family. I was also an aspiring writer who adored Virginia Woolf. I put Chloe Plus Olivia on my Christmas list, not expecting anyone to actually seek out an anthology of lesbian literature and buy it for me. But my dad did: he made a special trip to the University Bookstore in Seattle; he wrapped it and put it under the tree for me. I devoured the book, took it to college with me years later, then moved into my first apartment with it when I was twenty. It’s long gone now (lost in another move), but I still remember it fondly as a formative literary text, and as a sign that my dad loved and supported me without hesitation."

"I’m a huge Nicole Holofcener fan. I love the details of what she explores in relationships between friends. I think money is still a fairly taboo subject, maybe the only one left, and so I thought it was such an incredible way to explore friendships and marriages and lives intertwined between families and people with different levels of money. I was just so enchanted by that movie when I saw it. And every time I’ve seen it since, I find myself relating to a different character and having a different feeling when I watch a marital argument or something. It always opens up something new. I see something different in it every time. I think she just is one of the great storytellers when it comes to just human stories and our relationships."

"The Sweet Smell of Success is, I think, one of the best — certainly one of the greatest New York films, for me — ever made. Alexander Mackendrick, great director. Unbelievable script. James Wong Howe, unbelievable camerawork. And Tony Curtis and Burt Lancaster — to see those two going at it, and really, you know, the tragedy of corruption and how it infiltrates every aspect of peoples’ lives. There was something so deeply dark and cynical about it. But yeah, there’s this sort of tiny little germ of hope at the end of the film, as Susan walks off with the musician boyfriend that Hunsecker has tried to destroy, and you just feel like, you know, absolute power corrupts but not totally. Still, it has a vicious sting to it, that film. It really affected me."

"I remember seeing it at the time and thinking it was fantastically irritating. It was the post punk period and I didn't really like that woozy American liberal culture of the time. Then I re-watched it a few years later and really enjoyed it. It's so amoral and horrible and of course there's the kind of post Vietnam thing of all the people who are against the ROTC and the militaristic guys. The end scene where they totally fuck up the parade is just amazing. It's very entertaining and now it looks really great. That American liberalism looks like an endangered species these days. Something like Animal House or Smokey and the Bandit couldn't be made now – smoking joints and breaking the law – America's gone a lot more right wing since then."