"That was a massive record for me. I remember being obsessed with the first Weezer record, then Pinkerton came out and I think it happened at the right time for me as far as feeling like a teenager, It’s funny, if you listen to it now it’s a bit of an odd, but very solid album about being awkward. The sound of it was quite unusual as well, the production, compared to the first Weezer record, it’s very live sounding and immersive. It was just what I was in the mood for as a teenager. I was chatting to someone the other day about early Weezer lyrics and how a lot of it’s quite cringy. It would get scrutinized in a different way nowadays, lines like ‘God damn you half-Japanese girls’, but I still really like this as a record. It’s a naïve record."

"I love soulful noirs, and this slow-burn Austrian crime thriller is one of my faves of the new millennium. It’s as if Bergman made a movie about cops and robbers. Austrian director Götz Spielmann gets incredible naturalistic performances, and the storytelling has some real breathing space, which is rare in crime thrillers. (For another soulful Criterion crime pic, give The Hit a look-see.) What I love most about Revanche is this narrative magic trick it pulls. You think it’s going to be a relatively conventional story about a robbery that goes off the rails and criminal-code revenge. But instead it turns into this deep exploration about the intersection of people and the happenstances that lead us down surprising paths in our lives (a theme that I explored in my documentary Magical Universe. Find it!). Like the best noirs, the crime plot is just the Trojan horse that takes you into a profound story about choice and consequence. Before you even know it, Revanche has morphed into something like a Kieślowski film, and it suddenly knocks you on the floor and leaves you in a heap."