"It came out in 1980 and I have a sister with an intellectual disability. I think in 1980 — when I was 12 and I saw The Elephant Man for the first time — the film just struck a chord in me that nothing ever had before, and it does to this day when I watch it. Obviously the performances by Anthony Hopkins and John Hurt and John Gielgud, etc. are just so sensitive and touching that it’s heartbreaking for me. It really touches me in a way that I think has — not to suggest that my sister has the same condition that Joseph Merrick had — but the way in which that character feels ostracized and the way in which people are judgmental of him are all things that really hit home for me as a young boy trying to protect my sister out there in the world. Very much connected to my upbringing, but obviously quite a different story. But I just think Anthony Hopkins in that film, the way that David Lynch captured him, and obviously the way he performed that role of Freddy Treves just… There’s nothing better. Anthony Hopkins is someone who I think does sensitivity on screen better than anybody anyway, so his heartbreak and his compassion for that character was just unforgettable really."

"Okay, well now I’ve got one of two. Either The Muppets, the new movie, or a film called Monsters, which I really liked. I think I might put that one in. I loved the production design, which I gather [Gareth Edwards] did all himself, and the music by John Hopkins. I’m a huge fan of his music anyway, and his music is what introduced me to the film, which is weird. I look for anything that John’s done, and discovered he’d done the music to this film Monsters. I loved the soundtrack and I thought, “I wonder what this film’s like?” I loved the movie. I thought it was a terrific job."

"Well, I grew up in the sixties. In 1962, I bought the first Rolling Stones single, and I still have it. I still have every single they released, in order, right up until Brian Jones was murdered. I saw Pink Floyd god knows how many times, and even did a couple of light shows for them... We started listening to pirate radio and John Peel’s Perfumed Garden, and had a friend at school called Spidey who was very good at spotting interesting new music. John Peel was the first person to play The Velvet Underground, and Spidey said, “Listen to this, you’re gonna love this!”. That’s when we got the first violin. We used to go to Birmingham, to this tiny little record shop that had nothing of interest except some Albert Ayler and free jazz. There was a record in there, and we recognised the artwork from Oz magazine so we knew it was by Hapshash and The Coloured Coat, because they used to do psychedelic posters and Oz. So we bought it just because of that. It was on Magnet Records. When we pulled out [the disc], we were shocked to see that it was on red vinyl, which we’d never seen before. We later discovered that all these people on the scene in London wanted to raise money for the legals fees of John “Hoppy” Hopkins, the first person who’d been busted for drugs and who co-founded the International Times. He was a real mover and shaker of the times. It’s like twenty to a hundred people high on acid jamming! We fell in love with it and still listen to it all the time. When we DJ, people come up to us and ask, “What was that with that great riff?” Guess what one of them ended up doing? Writing “We Are The Wombles”! That really got me in the head, that was worse than a bad acid trip!"

"It’s my all time favorite, hands down. It’s just me. I really love the dark side and one of my girlfriends is one of the world’s experts on serial killers and she has John Wayne Gacy’s brain in her basement. I’ve SEEN it! Next to her sons hockey sticks. I didn’t know anything about it. We were on tour. We were in Corpus Cristi, Texas and had a night off and I always took the band and crew out for dinner and we go to this mall. I guess it was the last movie of the night and we’re the only ones in this theater and when we got out of the movie theater the whole mall was empty and we were locked in it. So, the whole night was creepy because we weren’t staying in an expensive hotel and there was just that little button on the door knob that locked our door. So I put all the heavy furniture in the room against the door. I can literally repeat the lines now and when I met Tony Hopkins — and nobody gets me; I’m just not impressed by celebrities unless they do something life saving or they’re a hero type — but anyway I don’t ever approach celebrities, but I couldn’t stand not to, and he did the lines for me. And then I was sitting next to Hannibal in a make up chair — the movie was called Heat and you know when you hang out with somebody for a long time… Ashley was doing that movie with him, so I had him do it. But absolutely my favorite."

"Well the next one is less action oriented. This is where I began to struggle. Because I had my first four and was like, “Okay, that’s perfect,” and then I had to pick another one. This decision is a bit tough; there’s a three way tie for this, I should say. I’m going to pick The Conversation with Gene Hackman and John Cazale. And the reason I’m thinking this is, I did a movie with Anthony Hopkins called The Rite, and the director of photography — we talked a bit. And he really wanted to have that ’70s feel and stuff — it’s when they just started to use the zoom lens for the first time, and how innovative it was. And then in the 1980s, it became overused and used for the wrong reasons and all that kind of stuff. The Conversation is one that, if you watch The Conversation for the opening sequence where you hear a conversation taking place as the master — this zoom from way up is zooming in over a park. And I was just absolutely blown away by it because you can hear exactly what’s happening, but you don’t see. You’ve got no idea who’s talking. You don’t know where they are or what’s happening. I was blown away. And Gene Hackman is one of my favorite actors. I just think he’s incredible; I could watch him read the phone book. I could watch him pretty much not do anything [laughing]. You just wonder what’s going on in his mind. He’s one of those actors who is saying one thing, but you know there’s so many different things going on inside of his head. You just never know exactly what it is and stuff. I love that. I love being kept guessing. Francis Ford Coppola is one of the greatest directors of all time, and what I thought was great was that it sort of embodies that period of time. Even though it was made in the ’70s and it’s a very specific ’70s movie, I think it’s very, very particular to today. You know, with surveillance and all that kind of stuff. And I just think the whole idea of it is incredible, and it’s just so well made."