"Speaking of that, we must go to Blade Runner — true visual genius, and also in a class never matched. I saw it the first show, the first day, with a bunch of my friends. I can remember that because it was at the Cinerama dome in Hollywood, and it was on that huge screen with that incredible sound system. I still remember that great Vangelis music. But that opening — it’s embedded in my mind, that opening, with that scape of the city and its almost Mayan-like temple formation and those fires out of nowhere shooting up. Plus, Sean Young — that interview [with Harrison Ford’s Deckard] is unbelievable. I got a lovely letter from her last year. I worked with her on Cousins. Amazingly, amazingly beautiful. And of course it has the great Harrison Ford, and Edward James Olmos, and we could just go on and on with that movie. Daryl Hannah is great in it. And the doll guy, William Sanderson, who I got to work with on The Client — he played one of Tommy Lee Jones’ posse. One of the great things about my job is that I’ve been able to cast, sometimes, my favorite people."

"This song was a really pivotal moment in my life, it was the first record I ever bought and it was by a complete fluke. ‘Jeepster’ was in a bargain box for 10p and it happened to have a photograph of Marc Bolan and Mickey Finn on the label, that was unusual, it was rare to have a photograph on the label and Marc Bolan looked androgynous, very beautiful, mysterious and quite weird. “So at the age of ten I took a punt on this thing. With that money I could have bought a few comics and an ice lolly, I’d have taken the stick and put it in the wheel of my bike, which was very important! But I bought ‘Jeepster’ instead and I did that thing of walking home and looking and looking at it. Fifteen minutes later I put in on and it snagged my attention straightaway, I had to pay attention to it, but it was pop music. “I listen to it now and it’s quite lo-fi, but even then I had an awareness it sounded like people in a room and that it was pretty rough, which was a bit of an ask for a little kid, it certainly wasn’t music for 10 year olds, 15 year olds maybe. I heard the sound of his guitar and why the hell I was hearing bongos in there as well was really intriguing to me. Before it was three quarters of the way through I was planning on playing it again and trying to find out how this thing worked. “The riff is funky without being James Brown and his limitations as a guitar player were really useful on all of his records up until ‘20th Century Boy’, which was very brutal. ‘Jeepster’ is very funky but he’s almost playing with the same limitations of John Lee Hooker, if he was any better - a Ritchie Blackmore or an Eric Clapton - it wouldn’t have been nearly as interesting because it would have sounded too bland, accomplished and slick. He’s hanging in there a bit, particularly on the outro, the riff is so dumb a more accomplished guitar player wouldn’t have been heard dead playing it. It’s so gauche, but it’s probably the best bit of music on the record. “Then there’s the way the band go in and out of time. I picked that up the third time I listened to it and that was really amazing, because on the radio at the time it was The Osmond’s ‘Love Me for a Reason’, The Carpenters, Andy Williams and all this slick, easy listening stuff, but this was a real pre-Glam record. “It identified me, I was ‘I know what it is to be a fan of this thing of my own now.’ I’d seen my parents be fans and to this day they’re fans of bands, but because I became a fan of this guy I was getting all these signals - particularly from girls’ magazines - about what it was to be a fan and having posters on my walls. The Smiths were very aware of that dynamic. “I grew up very close to my sister, who was eleven months younger than me and I’m glad that was something that happened for me, because I had a real sense of what she liked. I’d almost been like a twin, what they call an Irish twin with my sister, and it gave me a genuine appreciation of how great it was to be a girl. “It’s a fantastic function of pop culture, that shifting to take in different gender roles both ways, with people like Lady Gaga and Richey Manic. Marc Bolan was beautiful and he sounded really beautiful, the sound of a soft voice singing in a Rock and Roll way over a rock band has never really left me and that’s probably evident on my solo stuff. “Because of the photograph of Marc Bolan on the sleeve, his androgyny and the way he was singing, it was my first independent connection of seeing a different image of masculinity. I was very, very aware of that, because he was obviously wearing make-up and he was very pretty. I was hearing this guy singing in quite an effeminate voice and I owned the record, so I’d better love it. It wasn’t that I was just loving the music, I’d invested in this thing where this guy was like a woman and that was really exciting."

"My first gig I ever went to, when I was nine, was at Wembley Stadium to see the Bad tour. When he died, I was in my bedroom in Brighton and I heard it on the radio and I just spontaneously absolutely burst into tears. Michael Jackson, when I was little, was just this God-like being. You know when you're little and you're singing in the car with your mum and your brother and the sister, the world is so good, there's nothing more fun and nothing better. I don't think I've ever listened to someone singing something with that much joy, he was channelling something so fucking out there and it's like he constantly had a bolt of creativity running through his body, like the way he danced and the way he moved. A consummate dancer, referencing Fred Astaire and Ginger Rogers and James Brown and all these people that he channelled but made completely and uniquely his own. I saw a Spike Lee documentary the other night about Bad. Someone else wrote 'Man In The Mirror' but he took and did all of his - [mimics Michael Jackson] "I'm gonna make a change" - and all of that shit. It's just like, who else would do that? Who else would wear plasters all around their jacket? Who wears white socks with loafers and manages to make it look cool? Nobody was telling him to do that. He's just this fucking eccentric one-off. When he died, I thought the climate of music will never be like that again. It was like he was a child and his brain was a playground and anything he could think of, he bloody manifested that in the world; not many people can do that. The arc of music that he lived through, his education and his training all the way through, coincided with all these revolutions in music, music videos and dance. I just think that that was a one-off thing. I'm getting philosophical now [laughs], but I was watching Brian Cox the other day and his astro-physics thing and he put 50 stones all in a row on a desert floor and he was like "each of these stones represents billions of years in the history of the universe and where it's going to go." Then he went "here's one stone" and he showed about a millimetre of that stone: "in this bit, this is where the conditions were perfectly right for mankind to exist, this is this time, we're here now". When you think about culture and popular music from the 50s through 60s, 70s, 80s, 90s, 00s, it does feel like there has been a bit of a cycle, and I've been lucky that I came in at the end of that cycle. People that were born in the 50s had it amazing, because they got to see fucking David Bowie and punk music, but Michael Jackson was a guy that happened in our lifetime. I get really passionate about music, but music, for some people, it's like a religion and he was like a fucking icon."