"In the past year or two I’ve really been getting into more electronic music, and finding there’s so many subgenres! I’ve found this niche of really melodic electronic music, like Jamie xx and Jon Hopkins, and I just found it so soulful – it gives you this energy at the same time. That’s really opened a world up for me, ‘cause I always assumed electronic music couldn’t be as musical! Hearing this new sound, and these new methods of being musical through newer instruments, I was like, ‘wow!’ You can really reach that point of emotion in such a different, more energetic way. ""I just love this song. It’s a masterpiece, and I love the video as well. Learning about production a lot on this last album, it’s such a skill to let each element shine through and complement one another. The main thing for me is that simple line that comes in – a synth or something – halfway through, and the way everything builds. It’s like a symphony, really. Ever piece has been so considering in the song, and has such an emotional impact. It changes one note, and you’re sucked into a deeper level of emotion of the song. It’s effortlessly epic! ""I’ve used 'Gosh' so many times to warm up before a show, to get in a very focussed sense before a performance or doing anything high-pressure. It’s definitely our tour song. It has so many emotional memories for everyone that was on tour – our cameraman had to go ‘cause his first son was about to be born, so we played that song for him when he left. It’s never got boring to me, and I think I’ve rinsed it for about two years now! It’s never lost its magic. It just gives me life every time I hear it."

"I think it’s one of the funniest movies ever made. I think Charles Grodin is hugely underrated as a comedic actor. I think he’s brilliant. Jeannie Berlin who recently got a lot of attention again because of Kenneth Lonergan’s movie Margaret is amazing in this movie — she was actually nominated for an Oscar for it. Cybill Shepherd is great. I just love it, I love how what a s— the central character is, he’s really totally selfish and also really confused, in a great way. I also love that a lot of the comedy typically in movies like this, with sort of high concept plots, the comedy and the drama are driven by the central character lying to the people around them. But weirdly in The Heartbreak Kid, most of the drama comes from him telling the truth, he’s sort of excessively honest and straight forward, and it still manages to complicate these situations and cause a lot of tension and hurt feelings, but I just love Elaine May, I like all of her movies."

"I think I gotta go with that old stand-by, Butch Cassidy and the Sundance Kid. Love Butch Cassidy and the Sundance Kid. Love the — you know, it’s the two guys. It’s what me and my brother specialize in, the two guys. Well, in the Three Stooges‘ case it’s three. But the relationship between two guys like that, I don’t think it’s been done any better than with Butch and Sundance; particularly with Robert Redford and Paul Newman. The way they worked in so many different things, from comedy to romance to action and the way it’s so beautifully shot and, you know, a great story. And they didn’t pull the punches at the end. If you made that movie today, I’m sure that you’d do the test screenings and somebody would raise their hands and say, “We want them to get away at the end!” But they didn’t get away at the end. Today you’d have to re-shoot the ending where the guys go off on some secret beach somewhere and live happily forever — ’cause that’s the way audiences kind of demand it. But with Butch Cassidy and the Sundance Kid, of course, they met their demise at the end of the movie, and they had it coming ’cause that’s who they were. I just think it was a beautiful movie."