"That’s a film that, for me, that’s one that, even more than Annie Hall, is like an I-know-every-word kind of movie, you know, that I just can’t get over. It’s very comforting to me. It’s one of those comfort films. And it’s also really funny. And it’s one of those movies like… All the things about these romantic comedies and relationship movies or whatever, they don’t even make them like that any more, you know? Except for independent film. Independent film sometimes does, but you don’t really see them."

"I like The King of Comedy by Scorsese. I like that one. It makes me laugh a lot. I think it’s very funny. I mean, I like the combination, the trio of Robert De Niro, Jerry Lewis and Sandra Bernhard; that’s just one of my favorite trios in a movie. The three of them had a pretty amazing chemistry, I thought. I’ve heard that Scorsese was reluctant to make it, that it was on the shelf for a while; I guess that makes me appreciate it even more."

"I think the one film that I could watch over and over and over again –and I have — is Man on Fire. I feel like that’s a common dude answer. I feel like every dude loves that movie. Yes, the action is great, but I think that the biggest thing why I love that movie is the relationship between Denzel [Washington] and Dakota [Fanning]‘s characters. You just fall in love with that relationship and then it’s just so heartbreaking. Plus, I can watch anything Denzel. Yeah, he can do about anything and I will be there. I would say that’s probably my favorite of his."

"Such an amazing book. What I liked about it was the form, you know? It starts out very theoretical, like it’s just this ontological exploration, very polemical, and you can feel that it’s kind of brittle up top, and dense. And like, as she is changing—this is why it’s like a poem—it starts to just open, the narrative, it’s like you can feel the air in the pages, and the whole story starts to loosen, and she’s kind of loosening from this place of just being, you know, in her head. I thought it was so beautiful, that exploration, because, like a poem, you could see the form being affected by her story. I loved all the references in the margins. It was one of those books where I thought, ‘Everyone should read this book.'"

"Iggy's probably my favourite singer and I was thinking about choosing one of his solo records, but when you see my next one you'll probably figure out why I didn't choose that. Again, what can you say about Fun House? It's just so primal, a rock & roll record, and I can't think of anything like it. From the box set you can tell that it didn't just appear, they worked incredibly hard to get it that good, take after take after take. It's just amazing, totally powerful. To be able to capture something that probably was more of a live experience and make it sound like they're in the room with you… one of my neighbours has got a ludicrous stereo, and we'll just listen to Fun House, insanely drunk, on his stereo. It's almost like you're there, melting your face. It was a fun night… you should come round, it happens most Fridays. That's how countryside life in Scotland goes."

"I guess there is singing on it, but it's still instrumental music that opens your brain. It starts out almost sounding like weird pots and pans that I guess, my theory is, they're speeding up and slowing down their four-track so it's like [makes hissing, distorted sound]. So it does that for probably ten minutes, you're just sitting there, it's like psychedelic meditation, like you could tone it out. It's definitely analogue, it's probably four-track because, all of a sudden, out of nowhere, you feel something lift up, like it un-pause and start to record again and it's just like [makes skronky sound] and there's this weird guitar shit. But then they just have a good thing with mood where it just takes you on this weird textural journey and then somewhere along the way, it gets really heavy and the drummer starts in, and you don't know what he's saying, so it may as well be instrumental. The first Dead C record I ever got was Trapdoor Fucking Exit, which is an amazing title and an amazing album cover. That came out on Siltbreeze, which is a Philly label, so that's close to home. My buddy Richie, who I worked at this brewery with, he turned me on to that kind of thing and he made rethink how the... he basically hit me on to how my path in music should be, which would be: some people can jump up to a decent-sized label, but other people have to do it themselves, much like The Dead C, where you just start small and make it your own artform and then eventually, bigger labels aren't going to be able to ignore you because you're doing it yourself anyway. They can decide, if they like you, you're going to be doing it anyway. So I got that Tusk record pretty early, but I remember listening to it on the airplane in-between touring/recording for this new album and it's just another that just opens your brain and opens your mind. They're just as passionate, or they come off that way, about their music, except they're from Bumblefuck, New Zealand, but they put out tons of records, so it might as well be jazz - they're definitely influenced by that sort of thing. I have no doubt in my mind - but of course I could be wrong - that they're influenced by those psychedelic jazz records."