"Cocteau’s Beauty and the Beast. Again, very fantastical, very transporting and mysterious, and Jean Marais’ performance as the beast is wonderful. I wanted to have that sound to my voice when I did Moonstruck, and then Norman Jewison got very upset with me and lost his patience with it and almost fired from the movie. He called me on Christmas Eve to tell me that the dailies weren’t working, because he said, “You gotta drop the Jean Marais. I don’t want you sounding like [inaudible] talk like that in the character,” but the irony is that John Patrick Shanley told me that when he originally wrote Moonstruck the title was The Wolf and the Bride, so I thought there was some connection there."

"I'm an enormous Terry Riley fan. For me, Steve Reich and Terry Riley are the twin pillars of minimalism. Simplicity, harmony and repetition: they're very important things in what I do and what I really like. And I chose this album as opposed to A Rainbow In Curved Air because I heard that both John Cale and Terry Riley hated it, and I think it's a record that deserves love. 'The Mirrors In The Great Hall of Versailles' is a fantastic track and one which I just listen to over and over again. It's a really beautiful record. For years I hated the song. There's a song called 'The Soul of Patrick Lee' on it. But then I heard it somewhere and I thought it was quite good. But it's a strange hybrid record, and you can see how Terry could be dissatisfied with hearing something that has repetitive riffs and drums playing underneath it, and how John would feel like it didn't really accord with anything he was doing. Someone had obviously decided that they would make a good pairing because of their history. But they never made another record together which kind of tells you quite a lot. There hasn't been a Church Of Anthrax Revisited. Also it's a fantastic title. It's very dystopian."