"It’s so epic and so well-acted, it’s got a literary lineage, and it’s just amazing. I was a fan of all the music, and it’s so well-used in the picture. I was always intrigued and fascinated by the Vietnam war and this made me feel like I was there. I was surprised by so many things about the reality of war. When Martin Sheen’s character is going up the river and he goes to this one place where they’re blowing up a bridge everyday and he says, “Where’s your CO,” and he says, “Ain’t you him?” and I was just like, “Oh shit.” And the other thing that still stays with me today, the way the character acted — the helicopter pilot that’s going down — he says “Mayday Mayday, we’re going down.” He doesn’t overdo it; he gives information that’s necessary for other people to hear, and so for me that was a big acting lesson. I didn’t know it at the time. Any other actor — he may have been a real pilot — any other actor would have chewed that up, screaming, “Mayday,” but a real pilot has to convey information to the tower. He goes, “I’m in trouble, I’m in trouble,” and that’s it."

"Like I mentioned I love the desert. I have a video somewhere of my wife and I listening to this record driving in Joshua Tree. It really does sound like how it looks. To be honest, I knew of the soundtrack long before I saw the film. And that's how it is for me with a lot of Morricone scores. I went through a deep Morricone phase in my twenties, and just any soundtrack he ever did I bought. The movie's already there – you can see it. And I bet he would agree too – a lot of his music is far more cinematic than the films he's actually scored. He has this intense visual element to his music which is always exciting to hear. So that record in particular, I remember I first heard it in my twenties and it really blew my mind. The production – the fact that it is so produced – sure it's a recording from the 60s or something. But it is a studio album. So you hear him getting really great sounding recordings in some old-school microphone (old-school now). Really getting such a rich, beautiful sound. And then you get that fuzz effect, which is just quintessential Morricone sound, probably because of this record."

"I was aware of Bill Callahan through Smog and that, but I think these latest records that he's done are amazing. They're quite abstract in a way, it's really quite something, the lyrics are really good but the music is also really imaginative and the song structures are quite weird. He definitely doesn't stick to the pop song structure that I was talking about earlier on, but it is melodic, it's not atonal or anything. His records have a natural, very close sound, but it isn't straight folk or anything like that, the instruments are acoustic but then he goes off into these different realms. I think the latest record, that I'm just trying to get my head around at the moment, continues that. He's really thought of it as an album, it's a double and it's split up into four sides, and I know that when he was letting people know about it they released a side at a time, so it's conceived as those four or five songs sitting together as a suite. It's the best record I've heard in ages."