"You have to remember that this came out when I was 10 years old, and my brothers started smoking pot and listening to that all the time. So we lived a lot of our young intense lives with all that cool Led Zeppelin shit playing. But when I hear Led Zeppelin IV, I guess that's where I discovered that idea of a rock group. So for me, Led Zeppelin never really evokes anything other than these dudes playing this bad ass music. Of course, it's impossible to really play like Led Zeppelin. I mean, they're a total fabrication of sounds and moods and little arranging techniques, little quirks. Jimmy Page is a master of that. It's a magical combination of, what, eight songs? When you listen to them altogether, which we do quite often, I don't see how anyone who loves music could listen to that and not think, 'Fuck, that's cool'. Such cool drumming, such cool effects on the guitars. Robert Plant... it's a weird way he sings. People have accepted it now, but it's a weird screech. So high, with so much velocity, he's really singing at the peak of his energy. That is driving the music. You can't take Robert Plant's screeching out of that and get the same effect. It's just what the song is. That song 'Rock N Roll' [sings] "been a long time since I rock 'n rolled"... if you don't sing it like that, it doesn't have the same effect. He screams that shit with that freaky echo on his voice, it's like some truth from beyond. It's fucking amazing. It's still amazing."

"With Patton, understanding the second World War is required spiritual learning for anyone born in the later 20th century going forward. You know, I could list 50 films, but that one… There’s something about the mantle of celebrity, mixed with a really good rendering of military tactics, and finally, George C. Scott’s performance… I mean, really, if you look at them, it’s Ben Kingsley and George C. Scott that have me put them on the list, because they make those portraits feel so authentic. This idea that, “I’ve been here in countless guises before,” this hint at reincarnation, if you will, and destiny. This questing for destiny is something I feel in my life. I’m put here at this moment, in this time, when social media is doing what it’s doing, and filmmaking has reached this kind of new zenith, and I feel like everything I’ve been born and raised and taught and experienced has put me here for a particular reason, and I just know it’s gotta be something. The fact that Patton feels that, this quest for destiny, that he’s supposed to be doing something… You know, the actual morality of war… Karl Malden’s character, who’s nowhere near the forceful personality and couldn’t probably whip a battalion into shape in the way that Patton does — you need both guys. But ultimately when it goes on, Patton doesn’t know when to stop, and I love that they dramatize that. He’s being interviewed and he talks about the Russians, that he should just keep going and fight the Russians — “We’re going to have to fight that war sooner or later” — and oh, guess what? In the news today is this Crimea issue, and you sort of go, “Boy, what does that mean? How are we going to relearn that lesson?” So there’s just so much stuff wrapped around it that’s relevant and interesting, and it’s a story well-told. Just the way they set up the conflict and everything, I love it, love it, love it."

"I feel like this could be an old song but it sounds very modern as well. I love how sleazy and 70s’ it sounds. I picked it because I went to see Fat White Family a few years ago and before I went to see them I'd stopped playing guitar for a long time, given up on the idea of starting a band and had lost interest in music a little bit, I'd been in bands for years but nothing had ever happened. Then I started going out with a guy who was really into music and he took me to see Fat White Family and loads of bands actually around that time, but I saw Fat White Family play in The Macbeth in Hoxton. “It was so exciting! I hadn't really expected anything, I‘d just heard the name and I thought it sounded stupid. I felt like I walked in completely by accident and then I saw them and it felt how it felt and I just knew immediately that I wanted to start playing guitar again and make loud noises with people and have that feeling more. I knew that I wanted to start a band, basically. “I love the distortion on the vocals, on a lot of our earlier recordings I was putting distortion on the vocal, it's a little bit less now but it's still always there. I think it smooths everything over, or sands it down. I really love the tension and release in ‘Auto Neutron’, there's that moment halfway through where he screams and all the music gets loud and I've listened to it over and over again, trying to work out how that sounds so good. That exact moment is so perfectly timed and mixed. “Fat White Family are so guttural and thrusty on stage. It's passionate. It's hard to explain, but it's just really cool. As The Big Moon we really try to feed off the crowd and what they’re doing, you have the odd show where everyone's just standing staring at you and in those situations it feels really strange to be onstage at all and to be making noise, you realise how weird it is that you stand on a box and make loud music and people just watch. “It’s the shows where people let their hair down and have a crazy time that are the best. That's why we go to gigs, to have a physical experience and be there in a place with a load of people you'll probably never see again, but you'll have bonded by the fact that you love this music. You throw yourself into each other. It's so important that we have a reaction like that."

"Around 1983 or '84, pop music stopped doing it for me. It was getting a bit clean. There was still a lot of good stuff, but I think it was The Smiths... I wasn't obsessed with them the way Sice was and a few other people I knew, but listening to them made you want to find something else. Then, when The Jesus And Mary Chain came out that was it. My brother brought their second single home and I wasn't sure at first. It was such a racket. It still is. But it was 'You Trip Me Up' that really did it for me - I was sold. This beautiful marriage of... it's not nice feedback, controlled feedback like you'd get off The Who. It's awful. But the core of what's going on - the song - is so lovely. And they looked fantastic, like The Beatles in Hamburg. They looked like a gang. It just seemed like they were blowing everything away and starting again. I went to listen to the Velvets after I'd heard this, and the Velvets did it... it was either noise or it was a great melody. They never really did the two together, whereas the Mary Chain managed to marry the two. The video is just fantastic. They're walking around somewhere in the Mediterranean, sitting on the beach in full leather gear with their massive guitars. After hearing the Mary Chain, that was all I wanted to listen to - bands who did that. They were a big band. They were in Smash Hits, which is hard to believe."