"I first heard this one in 2000, or maybe 2001. My girlfriend at the time, Eleanor, had a Bo Diddley compilation that I think she got from her brother. I was grown by then so it wasn’t like I was listening to Bo in the crib, you know? But I came around to it. ""For a long time, I wasn’t a fan of the blues, because my limited understanding of it was cover bands on Sixth Street here in Austin - that version of the genre was just white guys trying to imitate Stevie Ray Vaughan. I think Bo transcended blues though. There’s so much more going on; there’s pop elements, there’s pure rock and roll elements. ""What I love about him the most is that he’s all about the maracas. That’s something that I’ve snagged, for sure, they’re the coolest percussion instrument. He went on The Ed Sullivan Show with a four-piece band, and one of them was just there to play maracas - that’s how essential it was to the sound. On this song, Jerome himself is the maraca player and he’s singing the response vocal - singing his own name. I love that."

"You know, I would pick Jim Cameron’s picture, Avatar, as a fifth. It’s the only new picture, I think, that can be up there in that group. Jim Cameron, one of our graduates — who started making low-budget science fiction pictures for us — went and jumped ahead and here’s Avatar, the most expensive science fiction picture ever made. Jim’s a technical genius, and the fact that he single-handedly brought back 3D — which had been up there, in and out a few times; in the ’50s and then forgotten — and he used it beautifully and sensitively. So many times when a director’s working with 3D you have the shot of the arrow coming out of the screen, shooting straight at the audience, and effects like that; he deliberately stayed away from that type of effect and just showed you the 3D world. And the use of computer graphics, green screen, motion capture and so forth for the blue-skinned people on the planet — I just thought it all came together as a brilliant film, both technically, in the way he used 3D, and in the beauty of the picture itself."

"Well, you know, it’s interesting because my favorite films are ones that I keep watching. I just don’t think there have been many great science fiction films made. I mean, 2001 is genius, there’s no question it’s a masterpiece, but I’ve already picked a Kubrick film. I find Dr. Strangelove a more user-friendly and enjoyable film to look at and watch repeatedly. I can watch it endlessly. Blade Runner is a masterpiece, but I don’t know that I would put it in my top 5 at this stage. Maybe at some other point in my life, I would’ve. I picked a Hitchcock film. Kubrick, Hitchcock, and Tarkovsky are my absolute Holy Trinity, you know? I’ve picked one from each person now. Oh! Okay, here’s a curveball. Um, no, I don’t want to say that one… I was going to say The Wizard of Oz, which I really like, but I don’t know that I’d put it in my top five, but in my top twenty. [Long pause] Godfather, I’d say. Just a flawless film, something that’s so beautifully crafted and so perfectly structured and designed, that I can watch it endlessly and enjoy it every single time."

"I started playing flute when I was about six or seven and I transferred to saxophone when I was 14. It was mostly just playing trad jazz in the school jazz band and so I'd actually played a lot of jazz, because I was classically trained too, so I'd read a lot of jazz solos. But I hadn't really heard much modern jazz. I started listening to Miles Davis and Charlie Parker at the same time as I started listening to The Velvet Underground and Led Zeppelin. I was completely obsessed with jazz for so many years. That was all I listened to. John Coltrane and Miles Davis were like my bread and butter for so long. But obviously, where there's John Coltrane, there's Wayne Shorter, there's Archie Shepp, Joe Henderson, all these other people, and the same with Miles Davis. Miles Davis I've taken such inspiration from because he's someone that says: you've got to change, you've got to adapt to survive. You can't just stay doing what you're doing, you've got to try and engage with the zeitgeist. He was unique in the jazz world really. The people that came after him, that he brought up musically, if you like - Herbie Hancock, Keith Jarrett, Weather Report, Chick Corea - obviously they were very much engaged in the music of the time but Miles was so fearless and iconic, not just as a musician but as a figure in his society. To be young, angry and black was such a unique thing. He was absolutely amazing. I've got so much respect for him."