"The album I got into most from Jeff Buckley was Grace and I listened to that loads. I've listened to that back to front, but more recently I got into Sketches For My Sweetheart which this song is on. I think that this album is all demos and the fact that it still sounds so complete, the message is still so strong, the energy’s still there. Something about that particular song just really felt like church to me I can’t explain it, maybe it’s the chord progression. It was like grunge church, I'm into that. I'd love to go to a sermon where it’s grunge church, that's me. But more so how he kind of created a world in this song where I don't really get what he’s chatting about but I’m with him, I’m on that journey. I love things like that, that I can’t explain, and I think Dark Matter is very much like that, I don't want people to try and explain it. I want people to try and feel it, have that relationship. And then maybe one day find out why it makes you feel this way. I haven't found the answer for this one yet but that's definitely the vibe."

"It’s a very, very intense movie. Isabelle Huppert, I think, is the greatest living actress. She goes on such a crazy journey in this movie. It’s an incredible performance, and it’s just an impeccably made movie. It’s a perfect movie. You haven’t seen it? Oh, you need to watch it. It’s so intense and so disturbing. Nobody does that kind of glowing sense of dread like Michael Haneke, where you just feel it coming and you’re like, “Oh god, oh my god, what’s going to happen?” I think he’s such a master. I was at a party one time with a friend of mine and I said, “Oh my God, it’s Michael Haneke!” And she was like, “How do you know?” I was really starstruck to see him — like, “How do you know what he looks like?”"

"Okay, last one — Apocalypse Now. That movie was so stunning and so ahead of its time. I don’t know, it’s probably a story like Blade Runner, because there are so many things that happened on it. And I didn’t even see the longer version. I think there’s a version that’s like three or four hours long. It’s such a mixed feeling of painful darkness — it’s not surprising with Heart of Darkness, to quote that — and of course Brando, he was always my big love/hate hero in acting; his speech, “The horror, the horror,” it’s just killer, you know?"

"Another recent album that I love, and will probably always love. Again, this dude just has a sound that I’m like, ‘This guy knows exactly who he is.’ For 12 or 13 tracks or however many it is, he has a consistency where you recognize that it’s definitely a Twin Shadow song. A lot of albums could have 10 songs where they all kind of sound the same. But these all sound different. They all sound to me like fucking radio hits but he hasn’t really popped yet. But I recommend his album Forget to anybody."

"I was about 14, 15 when I first heard this. There was a period just before punk when I was at grammar school. Grammar school being grammar school they tended to like these white rock bands. That was where I got introduced to bands like Yes, Zeppelin, Tangerine Dream, that I also liked. For me, they are my favourite American rock band. Their synergy, the way they play together, and again the engineering of that album, I don't think was ever surpassed. It's got everything. I suppose the Beach Boys might be contenders, but the Doors are my favourites."

"I’d like to say that the television version that’s longer is better than the version that was in movie theaters. Bergman’s my favorite filmmaker, if I had to choose. It’s very much a culmination of most of the themes and motifs of his career that appears as a physical personification in the very beginning of the film, similar kinds of ghosts that Bergman explored in the past. He has his love for the theater and puppetry and there’s moments of hope and joy, but it also just reminds you that humans have certain demons that they can’t ever escape. It’s really rich and it touches on so many things about what it is to be human that it’s really quite remarkable. And as with every Bergman movie, there’s not a moment of bad performance to be found. But I think that the first episode, if you were to watch the TV version, is just Christmas with a family. A long episode of getting to know a family at Christmas. And I was talking with [Home Alone director] Chris Columbus about Christmas in movies and he was explaining how it’s just a time of heightened emotions for everyone. So that’s a really clever way to learn about this family and all of their dynamics super deeply, by beginning at Christmas. And the first time you watch it, you’re kind of like, “Where is the story? What is this? This is just Christmas.” And then the next episode, the plot begins but you’ve gotten to know this family incredibly closely and so then you’re just so invested with them through the rest of the film. Also, like The Lighthouse, it has some fart jokes."