"The first movie I ever saw in my life, interestingly enough, was The Gods Must Be Crazy. It was a South African movie. It’s ironic that years later, the next most commercially successful film from South Africa after The Gods Must Be Crazy is District 9. The effect was kind of an early imprint that South Africa belonged in motion pictures. Because there was nothing else for years, as I became an adult — or even a young man — I kind of realized it didn’t. Everything that South Africa made was terrible that I subsequently saw. Usually I was just ashamed of it. I was like, “Oh God, we make terrible television, we make terrible movies.” And even with Marius Weyers doing the South African accent — something that was uniquely South African and African could be commercial was just imprinted in my brain."

"Could listen to this on repeat forever and ever. It’s slightly nostalgic and melancholic but still really groovy. It doesn’t take me back to a specific memory but it does remind me of being a kid – there’s a warm fuzzy feeling that hits me when I hear this song. When I was growing up it was all about singles because that’s how my mom listened to music – she’d never buy the whole record. I guess that’s how I grew up. I’m just starting to get more into DJing and singles are pretty key to that. As of late, I’m listening to Sirius satellite radio, and there’s this channel called 1st Wave that plays rarer new wave and dance songs – not just the hits. I’ve been using that to collect songs for my sets – the stuff that gets overlooked. Stuff like this."

"Emo steez. I was a little emo kid. It's one of those things where, again, notably realising when somebody does something different – and Fieldy definitely played his instrument different than any bass player I'd heard before. I could tie this to Marvel and everything again, like Todd McFarlane did the cover of the album Follow The Leader and the video for 'Freak On A Leash', and he was also a Marvel artist at the time. It was a bit iconic for me, from Follow the Leader to Issues. That's all I was at school; at one point I went through a hard-ass Korn phase where I was just like, 'I only listen to Korn.' I didn't want to play bass like Fieldy because I didn't I totally understand why it wasn't always very melodic or harmonic, but a lot of the choices that they made when it came to progressions and stuff like that were insane, also, and it was something that drew me in. Every now and again I run into them, and we're not friends, but we're associates to the degree of where we recognise each other. I literally just got a chance to see them at a show and we sat and talked, but I haven't ever told them that like they were a big part of my growing years as an artist and as a bass player. Yeah, Issues is still one of my favourite Korn albums."

"Unfortunately, I keep saying ones that I had something to do with. I was the stunt coordinator on that, and I actually played the cop that arrested her at the end. If I have any kind of acting ability, it’s from watching people like Charlize Theron. I was on the set every day. I didn’t have all that much to do, stuntwise — just safety issues and a couple of little stunt things — but I could watch her work, and see how she got to certain places, and that’s the best possible training I think an actor can have. [Theron did] subtle things right before certain scenes, to get to a certain place. I think, even subconsciously, I’ve incorporated some of those techniques. It’s nothing I can really describe. For the violent stuff, it doesn’t take long. It’s just very easy for me to get from my personality to the murderously violent personality. I think I’m closer to that than most people are, so it’s a short trip. [laughs] But for the emotional stuff, and crying scenes and stuff like that, what works best for me is to use music that means something to me, that reminds me of something in the past that isn’t a good memory. Something like that. That helps me to where I can convincingly cry, because I’ve seen so many actors — and these are whom I consider good actors — who are not convincing when they’re crying. It’s just not believable, it’s too forced. I think that’s obviously one of the harder things to do. Take [Hatchet series’] Danielle Harris. Most often, when you have a character who has to have a lot of emotion like that, you start out as a regular character and become that, like Tamara [Feldman] did in the first movie. Starts out normal and then becomes emotional at the end. Well, because this picked up from the very last frame of the first movie, from the very beginning, Danielle has to be crazy emotional. She lost her whole family and found them dead. So, it’s one thing to be able to get to an emotional point, but to have to do it so many times is the hard part. Lots of people can make themselves cry once, but let me see you do it ten times in one day, and some of those times being after lunch, where you’re talking to friends, and then you gotta get back to that place. It’s not that you just do it one time and they film it and you’re done. You gotta do all the coverage and make sure the emotion matches. That’s the hard part."

"Obviously that's a great soundtrack, and also my favourite blaxploitation film. I kind of remember growing up [thinking] blaxploitation films were silly, like I remember, I'm Gonna Git You Sucka, but then once I started getting into them, I was like, oh wow, they are really political movies that don't really exist any more, and what I wanted to highlight was the score by J. J. Johnson. He's pretty much up there with Quincy Jones, but I would love to see a biopic about someone like that who has this really long career spanning from bebop and going to Hollywood and starting to score for blaxploitation films towards the end of his career. These guys are just genius arrangers, composers, players, and while their struggle was within the Hollywood system, it's not like it was a face you know from a college dorm poster like Miles Davis or something - it could be played by anybody you know."