"It’s a film like the other two, in a way, which has grown as I’ve grown; it’s changed with me. You think of films as being finished, completed things that never change, but actually they do change — because we change. And so a film like Close Encounters, when I first watched it — when I was much younger — it scared me to death, and now it’s a film that I find intensely moving. It’s an almost spiritual film. Spielberg is just, I think, a genius in being able to tell a very simple story and get to something so complex and profound. I think he does in E.T. as well, to a certain extent, but this one I find one of the most moving films I’ve ever seen."

"Again, it's all about the outsider and making the ugly beautiful, which John Waters is very well placed to deal with. It's also about a very particular place, which is Baltimore, and about a particular pop culture moment: the early sixties, just before The Beatles hit, which is a forgotten time and much more interesting than everybody thinks. People often go with that Nik Cohn line that there's nothing interesting before The Beatles, which is absolute bullshit: I love all those songs like 'The Bug' and 'The Madison'. It's got Debbie Harry in it and it's got Divine of course, who's as wonderful as ever. What's not to like? It has a lot of charm and is fascinating on a number of levels."

"Although I have been doing plays since I was eight-years-old, it was only when I started doing Shakespeare at age 19 at the Georgia Shakespeare Festival that I felt like my career started. I learned from master teachers at the University of Evansville, at Juilliard, at Shakespeare festivals all over the country, eventually landing at Shakespeare in the Park in NYC. That show transferred, so I got to make my Broadway debut doing “The Tempest” with Patrick Stewart. I owe so much to Shakespeare. Nothing is more humbling and more exhilarating than taking ahold of those sacred words and riding them like a wave. If I could only take one book to the island, this one would do just fine."

"The structure of 'Let There Be More Light' is not conventional. It goes through different things - you think it's going to go one and it goes the other. But much more than this record, before Bill and I started playing together in Body/Head, I found this 1968 live footage of Pink Floyd on YouTube. They were playing and it was almost like people were dancing to abstract music. There were visuals and it was amazing. In 1968, they were doing stuff that we're just doing now. Syd Barrett was sitting down and playing prepared guitar, like Bill does when he does his solo stuff - and other people who play prepared guitars do. That was all really inspiring, originally to the band, I think"

"Let’s start with Withnail and I. That’s gotta be pretty much up there. I adore that film. I can quote it at great length. Many of my great friends love it, too. It’s a film about two overindulging actors who go on holiday by mistake. What’s not to like? It’s wonderful. There’s so much I would like to say about that film. It’s this sort of beautiful eulogy, really, but a very, very funny one. It’s probably got as many quotable lines in it as any film, really. Richard E. Grant and Paul McGann just… I don’t know. I adore it. That’s the problem with a film you love so much, is I don’t know really what to say about it. I completely love it."