"""Whole Lotta Shakin'', was the first time I heard him, in Pontypridd, being played from Freddy Fey's record shop. People used to ask me, because I loved music so much, 'What do you think of this record, what do you think of that record?' When Elvis Presley came out, I said he can't be the only one - a white man being influenced by black music in the South. So when 'Whole Lotta Shakin'' came out, my friends said, 'Is that what you're talking about?' I said, 'That's exactly what I'm talking about!' Another guy, playing piano, similar to what Elvis was doing, but even more syncopated, white and from the South. It was unbelievable to hear that record. Then 'Great Balls Of Fire' followed, and 'High School Confidential' was a great record. When you listen to his records, he always sings up, except towards when he got older and the pressures of life got on him. In the beginning, he was always up, you know the ends of everything came up. Little Richard was pushing the shit out of everything but Jerry Lee, he had his syncopation, it was like he floated. He fell out of favour, because he married his cousin - it was a shame, he was still making great records. There's one called 'Loving Up A Storm' and that's equally good. That's on The Sun Years, they're all there. I saw him live in Cardiff in 1962, and Johnny Kidd and the Pirates were there and they were slick... I thought, 'Shit, how's Jerry Lee going to get over this?', because they closed the first half. He came on, and instead of how Johnny Kidd and the Pirates were very aggressive, Jerry Lee was the opposite, he opened up with 'Move On Down The Line' and the band were like [sings] and he just walked on and was like [gestures] showing us the the chord he was going to play. He just sat down at the piano and - boom - went into it. It was like 'Jesus Christ!' You know, it was smooth, it was slick, it was rock & roll but he wasn't like, screaming - he had a different take on it and yet it was rocking."""

"I don't want to sound like a broken fucking record but I've gotta go Simple Minds and Sons And Fascination. I've always picked Empires And Dance, but I keep switching to Sons And Fascination. If I remember rightly it was produced by Steve Hillage, so you could see the direction they were going in: he'd been and gone and was a real mainstay of the 70s prog scene, and it just shows the ambition of this band at that point in time. They'd been Johnny & The Self-Abusers, the quintessential proto-punk band, and then they'd done their first album which is kind of still punk-ish or punk-inspired. And then you realise there's a sea change, where they realise it's not the language they wanna speak. Sons And Fascinations comes after Empires And Dance, and working with Steve Hillage was symbolic of them wanting to explore something in themselves. I think if a posh lad reinvents himself and explores avenues he gets a plaudit for it, but rock & roll history is littered with lots of working class lads that have really reinvented the wheel and reinvented themselves and they've searched for things which should have been out of their reach. And they never get the credit for it. Simple Minds are another band that happened to. This album is full of pure, post-abstract expressionism. 'In Trance As Mission', 'Sweat In Bullet', '70 Cities As Love Brings The Fall', 'Boys From Brazil, 'Love Song'. 'Love Song!' Amongst all that! A fucking amazing white Scottish pop-dance record with an industrial backbone. Not many people achieve that kind of mash-up or fusion in their lives. They were concurrently making Sister Feelings Call at the same time. Another band who got pilloried for being pretentious. But they were working class boys who were just reaching for pretension and saying, "No, we will not be fucking defined by you. This is what we're doing. Go fuck yourselves." I've been listening to Sons And Fascination again, and it's just a crowning, towering achievement for a bunch of working class boys from Glasgow, because they weren't allowed to do it; they weren't supposed to do it. People told them to fuck off and they said, "No, we're gonna do it, and we're gonna do it better than anybody else."

"A Streetcar Named Desire with Marlon Brando. I just want to put there. All these movies that I’ve listed, including Casablanca, you have flavors, which I like it. Drama. Comedy. And again, we may argue back and forth about what is drama, what is a comedy, right? What is melodrama? The Room never did melodrama. The thing what I listed all the movies, they’re not melodrama, they are relate to real life. Streetcar Named Desire, for example, you have, my understanding was, the time the movie was made, the main characters, Brando and… He actually raped the girl. And they cut this on the movie. That’s my understanding, that it was part of the script. So this is again saying that Streetcar Named Desire give us some evidence that people were still cautious what we present in the big screen that certain ideas or situation between two people, you cannot do it. Today’s society, as you know, we go extra miles. The Room is perfect example. We show the nudity, we show the certain stuff, because I myself, I was struggling as a filmmaker, as a director, how I present the scene. Same, you see, if you look at Casablanca, a relationship between two main characters, how they, you see… I love it, black and white movies. Sometimes you can educate yourself that you don’t have to physically show it, sexuality, but it’s there because you can feel it. Now, just because of our culture, I decided to say, “Hey, we go extra miles.” And I was struggling with this. You see, I had talked to Greg. I don’t know if he remembered but I said, “Hey, okay, is it Johnny naked or not?” I said — and I was so frustrated — and I say, “Hell with everything because I don’t know how… I want to be real as much I can.” Even though people say… Remember, The Room, and is again, The Room is supposed to be play. People forget that; they are short-handed. [laughs] I don’t want to be too negative, but that’s the history of The Room. So I will say, originally I was supposed to… I wanted to put into play, but it didn’t come out right. Actually it come out better because more people can see it. That’s basically what happen."