"""Let’s go to Pinocchio, Disney’s Pinocchio. That was a truly, utterly magical movie. The world was so beautifully detailed and so fantastical, and yet believable at every point. I love that movie. It’s really stuck with me, because it was at a level of craftsmanship that was so unbelievably high, and it’s maintained that position in my head for all the years. Great songs, great everything. Great characters. I don’t know what else one can say about it. It’s just a great story. I think the first film I saw was probably Snow White. That’s the advantage of being old. You get these films when you’re at the right age. But those two in particular really, really stuck with me because I just hadn’t seen anything so beautifully crafted. The great thing, it made me a big fan. It took me years to discover that Cliff Edwards was the voice of Jiminy Cricket. I always loved “When You Wish Upon a Star,” and he was singing that. Now I’m a great fan of Cliff Edwards. His music is brilliant, but most people have forgotten him. I just think he was known as a singer, and he played the ukulele. He just ended up with a wonderful voice. I think his voice was also used in one of the other Disney films, which I can’t remember. But it was his singing that is just right. I think that’s Pinocchio. I saw Pinocchio maybe 20 years ago again, and what amazed me about it is how, as a child, I remembered this vast universe, huge world. In fact, it’s tiny. You go from Geppetto’s workshop and the little village to the bad boys’ island just like that. Bing. It’s so tight the way that they do it. The next thing, you’re in Monstro’s belly. It’s a great one to watch just to see how succinct you can be and still create a universe. It’s a lesson I’ve never learned, the succinct part."""

"That’s something I always wanted to do, damn that Keira Knightley! The costumes are phenomenal in that movie, the message is fantastic and there’s just a grandeur and beauty in the scope. We don’t even make movies with that kind of scope anymore; I don’t think anybody would sit there for that long for that movie anymore. It’s about being yourself, and not forgetting yourself really. Even though you move forward or you move up, you still are you. When they’re at that racetrack she’s talking to the horse and she’s going, “Go Clover,” and then she goes crazy shouting, “Move your arse, Clover!” And she’s got that phenomenal hat, fantastic dress on, but she’s Eliza Doolittle you know? I love that movie, and why can’t a woman be more like a man? I love that song; I love his confusion with that."

"There's so much of his stuff I could have chosen. The reason I chose this one is, this was the first time I heard this band. I remember sitting in the car with my friend and saying "my mate's given me this tape, let's check it out". And I put it on and we both just looked at each other and went, "Oh my God!". I'll never forget it. It was a day like today, really sunny, and this giant doorway that you didn't know was there opened up, introducing you to this whole new world. It still feels like that now. He's another one where the colours never fade. The thing about the two as well, Coltrane and Miles Davis, is that they both represent two parts of myself. I always think of Coltrane as being outdoors music. Organic, countryside music. Elvin Jones [drummer in John Coltrane quartet], just sounds like waves crashing against the shore, the wind blowing in the trees. The music feels like this stormy day and then Miles Davis feels really urban, like city lights. When I was discovering this whole Coltrane thing, there were quite a few years where that was my religion. When I was learning the saxophone, I was studying a lot, practising 12 hours a day, and listening to Coltrane all the time and I was doing a lot of meditation as well. I was really involved with Tibetan Buddhism, doing retreats and doing a lot of study. I was very into it for quite a number of years. I've come out of that feeling like these pentatonics, these Nubian rhythms, these ancient rhythms, they make a lot of sense of the universe."

"The Graduate directed by Mike Nichols. It’s just a perfect film. And it was, I think, the first non-student real film for Dustin Hoffman. It’s just a beautiful, perfectly written… perfectly shot, perfectly acted film, where you have Dustin Hoffman who has bedded both Anne Bancroft and Katharine Ross and he breaks up the marriage. I saw it as a little kid because I lived with my mom and she liked to go to the movies. She couldn’t always get a babysitter and so now and then I would get taken to films that were quite adult. There’s not necessarily nudity, because there doesn’t need to be. The thing is so well written; the adult themes and just how screwed up adults are is on full display in The Graduate. You can tell all these people are just so damn talented, and you look at a young Dustin Hoffman and you go, “Damn, man. Look at the career you’re about to have, dude. You’ve got it.” His talent was just so huge yet so innate in that he’s not gonna fail. He’s one of those people like, “Man, you were born to act.” I’ve tried to get to Buck Henry to get him to tell me stories about The Graduate and I’ve hung out with him a couple of times. And I’m like, “You wrote The Graduate!” And he’s always very funny and kinda belligerent to me, “Ah, shut up… Rwagh, Rwagh.” I’m like, “OK [laughing].”"