"I saw this just recently—proof that you can still make huge discoveries and feel like a young cinephile again at fifty. This amazing film can be filed under “cinema as a beautiful, frightening hallucination,” and it includes a rare collection of anamorphically shot images of action and movement. This is also one of those special films that are hard to assign easy descriptions. One year later, 2001: A Space Odyssey came out. Very different movies, but similar in how unusual and thrilling their ideas of cinema are."

"I remember first hearing 'Xtal' - that is the sexiest ambient electronic song for me. I remember being in my first year of university in Brighton and moving away from home and being a bit lost and lonely in some ways, in this tiny little halls of residence room. This album, Ambient Works, was just constantly on my Walkman and I'd been exploring Björk, The Black Dog, Aphex Twin and Boards Of Canada, all this electronic music, this world that was opening up to me from the early to mid-nineties, which I was discovering it a bit later. I'd actually at that point bought a QY-70, which is a Yamaha sequencer - I remember reading Björk had written Debut on it and Tricky had one. Listening to Ambient Works, for the first time it seemed possible that I understood how those things were layered up - beats and beautiful little melodies and there was no singing on it, which for me at the time was great because I was very shy about singing. I remember just hearing that and then going to my QY and hearing little synth sounds that sounded similar. Although Aphex Twin's synth sounds were, in hindsight, put through loads of pedals - I can hear that he's got field recordings layered on top of stuff and probably synths he's made himself - but it made sense to me and encouraged me to go and make my own ambient songs. I remember meeting Aphex Twin around that time at a Björk Vespertine concert. I'd met him once before and I went up to him with my MiniDisc player, which I used to put things I'd produced on, and I played him a song at the bar. I kind of knew him at the time a little bit by face, I think we'd met at some nights he was doing at a warehouse in London and me and my boyfriend at the time liked dancing and going out, and I played it to him and he said: ""I think it's really good. The production's quite good for a girl"". [laughs] That's what he said to me! I didn't take it as a bad thing. I was just like, ""cool"". I mean, Aphex Twin liked my production skills, so whether I'm a girl or not, it's fine. But I just remember thinking how funny that was - but I took it like ""that's a real stamp of approval for me"". I do think he's been a really pivotal figure and an important person in my life, because he does electronic music and it's really sexy and emotional. It wasn't cold like some of the other people, like Stockhausen, but I felt like he understood the dance movement and got the loved-up aspect to ambient music. There's a darkness to it, and a light, but a real twisted, disgustingness in what he does, like 'Come To Daddy' and 'Windowlicker', this rank Englishness, [adopts croaky drawl] ""come to daddddyyyy!"", all that weird shit. He's got a sense of humour and just seems to be one of the modern day composers of our time that understood emotionalism in electronic music. Dirty, disgustingness and kind of surreal, how to fuck with your mind, and his body of work is huge. So, yeah, I think he's a dude."

"Of course taken from Do Androids Dream of Electric Sheep by Philip K. Dick, a short story, and like a lot of his books, it paints a world where technology has vastly outstripped our morality. We can create artificial beings that are every bit as human as we are, to any measurement, and yet we still treat them like a machine. What does that say about how human we are? I think in the age of cloning and bio-medicine that is exploding right now, with every month, it seems there is some new problem that is jeopardising our morality as human beings. It just seems like we should be very careful in the next hundred years. Philip’s very clever in saying this is what is going to happen, if we’re not careful. I also think it’s the best noir that doesn’t have to have gumshoes ever. He’s successfully made a noir in a new setting. One of my favourite things is the flying blimp with the picture of the Asian lady taking the pill in close-up. How perfect is that? We’re seeing those commercials now, where they say the side-effects maybe your hair falling out and so on. How they talked to Coca-Cola about the product placing on that building, I’ll never know. "

"I think that most people got into AC/DC because of Back In Black and that happened to me as well, but I really wanted to explore the Bon years because Highway To Hell was a great album too. So I wanted to go back from there. I loved all of it actually. I was completely obsessed with AC/DC for a long time in fact, but the one album that really for me was head and shoulders above the rest was Powerage. It’s got songs like ‘Down Payment Blues’ and songs that people would say, ”Oh that’s my favourite AC/DC song”, because they’re trying to be cool and try and talk about their poverty and their roots and that sort of stuff, but it shows that it has a deeper poetry to it – the fact that people want to think of Powerage that way. For me it’s also got the best Angus solo of all of them. It’s on ‘Up To My Neck In You’. It goes on for ages and it’s essentially the same solo twice, but played a bit harder the second time around. It’s really good: him using proper dynamics. He has a lot of phrases that he often goes to, but it’s just the way he uses them on that solo that makes it really special. I’m definitely a Bon enthusiast. I went to Fremantle near Perth in Australia to visit his grave. I’d never been to visit any famous graves before, and we only did it because we were in Australia and had the day off, but you have an expectation of what you’re going to see tribute-wise from other people that had gone to visit it. And there was one guy had written something that had really stayed with me. You can imagine that it’s sort of like a pilgrimage out of town – there’s nothing really around the graveyard. And there’s a bench on the concrete and you can just imagine this guy there with a Sharpie going, “hmmm, now what can I say that really sums up my feelings at this point?” And he had just put: “Love your work Bon.” Ha ha, it was really powerful."