"I became popular in France prior to becoming popular anywhere else; for whatever reason they just adopted me. I didn’t speak any French, I didn’t tailor that in any way, but they said I was a bit like Serge and then I got into him as a consequence. The French are a weird culture, I’m really blessed that I’m popular there but I also think… fuck, it is quite uncool there. They’re the only nation in the world that clap on the one and the three, everyone else claps on the two and the four, so there’s something inherently corrupt about their understanding of music. They’re better at pastry than they are at music. Serge Gainsbourg understood how shit French music was, and he turned it around."

"My wife and I had moved back to Britain in 1992 and we were interested in every kind of electronic music. Before we left, we knew people that worked for R&S Records, and they brought around the first white label of Aphex Twin’s Digeridoo. We were just blown away by it. At the time, the space opened up for a lot of small labels like ours [Swim ~]. What was great about that world was that anybody could do it. You didn’t have to be British or American. That’s the great thing about the Boredom Is Deep and Mysterious compilation, which I was introduced to by a journalist. It was all Danish artists and it has the splendidly named Dub Tractor and Double Muffled Dolphin."

"One of my other favorite films is Don’t Look Now, which is kind of an antecedent or… something we were going for a similar vibe with our film, The Forest. I think, to date, it’s still one of the most disturbing movies that’s ever been made. I love how Venice is a very unique specific place in that movie. I’m a huge Donald Sutherland fan. I had an opportunity to work with him at one point and always loved that movie, and I was just gushing over that film. And I like its sense of stranger-in-a-strange-land, how it’s about a westerner that’s trapped in this very unique and specific environment, which is something we were trying to mimic in The Forest."

" Complete faves, yeah. We’ve spent a lot of time together, even before we started the film — that’s how we knew we could work together, by comparing films that we liked and talking about them. And so, our first one’s The Breakfast Club by John Hughes. Obviously, in ParaNorman, we’re picking up on different high school stereotypes, and John Hughes touched on that so beautifully — especially in this movie. I think the most amazing thing about this film when you watch it is that it’s just pure character. There’s no spectacle or anything. When you watch it — you know, it was a mainstream, successful movie and everyone went to see it — but when you watch it, it’s almost like an art movie."

"""Using the power of IMAGINE, you can improve your health and the health of others using Creative Visualisation. This is a book that gives you the practical usage of IMAGINING. It gives you titles like this: Depression, Diabetes, Dizziness, Fear, Ending a relationship… I am just putting them without any order, but you see that it will be so good if you can cure those symptoms without chemical drugs and/or an operation. When I read what he claims you can do to fix a cataract without any operation, I was flabbergasted. At the same time, I really wished that I could have given the information to a friend of mine who recently went through a cataract operation. It’s incredible!"""

"The classic Led Zeppelin record. Again I got into that much later, 1995 or something. A guy who used to work at our studio was really into them. 'Stairway To Heaven' I knew because we used to play that at our guitar club. They were almost a precursor to The Sex Pistols, except they were better musicians, it was just very heavy rock & roll. We never had a synth club at school. What happened was when Depeche started I was playing guitar, Fletcher was playing bass and we had a drum machine. Then all these electronic bands started like Gary Numan and OMD, and we thought, ""you know what, maybe we can enter into that world instead"". Our guitar playing wasn't up to scratch, probably."

"This has to be up there. There are parts of this movie that I think are perfect — like when [Andrew Lincoln] is flipping the cards for Keira Knightley. I just died. I think I was in love with Keira too; when I would see her, I could get that heartbreak he felt. For some reason, there’s so many aspects of love in that movie — it all resonates with you one way or another, and there’s such humor and different stories, young and old. There’s all kinds of relationships — it’s family and taking care of them even if you have to sacrifice your own romantic love. I always watch it and am always overwhelmed with how good it is. It’s amazing."

"I saw this movie at the Academy of Music in Northampton, Massachusetts, when I was thirteen. It was my introduction to Chekhov, and it changed my life. I think I went into the theater in large part because of this movie . . . I didn’t see much theater as a kid, and this was my first clue as to what it could be like. They really nailed what’s so great about Chekhov, and it made total sense to a thirteen-year-old girl in Massachusetts. Then all the Chekhov I saw after that as a young adult that was so terrible and haughty and faux-British . . . I’m just really grateful that this was my first encounter with his work. Wally Shawn’s performance is incredible, too."

"If I had to pick just one movie, I’d say, “Give me The Big Lebowski,” because I can watch that thing 20 times in a row. I’m such a fan, and really, no one’s busted me on it yet, but all I really want to do is be John Goodman when I grow up. He’s so incredibly intelligent and full of pathos and hilarity, while at the same time, being this crazy linebacker of a man. His work in that and Raising Arizona, which I’ll put in a subset under The Big Lebowski, when he eats that fucking bowl of cereal while smoking a cigarette in Raising Arizona, I’m like, “Alright, there is room for me in the pantheon of actors.”