"The first one is Working Girl. I love that movie, and I think all the female characters in it are pretty amazing. I love watching Melanie Griffith’s transformation. Her wardrobe and her makeup is amazing, because it’s the ‘80s. It’s unbelievably awful; you can’t even believe that people used to think that was okay to dress that way, or that other people found it attractive. Joan Cusack is amazing in it. Her eye shadow is so blue; it’s horrifying, and you also can’t look away. Sigourney Weaver is a great villain in it, because she also has moments when you, I don’t know, you kind of like her… and then you don’t in the end, of course. But she’s a very interesting, strong character. Even her tone of voice and the way that she’s super sweet to everyone; it’s almost like Meryl Streep in The Devil Wears Prada before she did that. You know, kind of the bitch with the huge smile on her face. So I love that movie. If I turn on just the last five minutes, I burst into tears. [laughs] Joan Cusack stands up and is like, “She did it!” and that Carly Simon song comes on, and I just feel strong and inspired, and I always cry. It’s like a happy cry. I’m surprised that it still makes me cry, but I’m always just like, “Yes! This is incredible!”"

"That parade scene. The parade scene — I celebrate it. But also it, like, tears me up a little bit. It is just such a joyful… I can’t even imagine what it would have been like to shoot that. It was really wonderful. I saw it as a young person, but then, eventually, moving to Chicago it was pretty great. I felt some ownership to it."

"Krush Groove is awesome because it has all the old hip-hop people that I like. You know, LL Cool J, Run-DMC, who I love, Fat Boys, Sheila E. One of my favorite scenes in any movie is in that movie when Run comes out and he’s like “We have a whole lot of superstars…” It just gives me goosebumps when I watch it."

"Jesus Christ, that album is just stupidly good! I didn't know this, but a lot - Ginger Baker, Tony Williams, who played drums for Miles Davis, Steve Vai - it was a supergroup! It's a perfect record, it's like the perfect, cool record. The guitars on it, it just sounds like it's flying! It's like, ""Wooo, there goes Steve!"" There'd be divebombs - he had a Floyd Rose whammy bar - it just tanks - it goes down and then it goes up, up into the stratosphere, and then he'd go really down on it. Jesus Christ - talking about sonics! And it's surprising how many of the drum riffs that I like are by Tony Williams: the first song ['F.F.F.'] on it is just awesome; I would've thought that was Ginger Baker. I guess the producer employed two jazzy drummers! I was listening to this pre-Pixies. I listened to it a lot with my brother, my little brother who's excellent with the guitar. I still lived at home at the time and we would just flip out in my bedroom. He would actually show me [how to play something], because I would be so frustrated: "Goddamn it! What is this?!""

"This one I didn't play on! It's one of those songs that just came over on the radio. I think I heard it on the radio before I even heard it on the album. It was Bowie at his best for me. There were a few that did that. I always loved the odd side of Bowie, the odd subjects he chose and his way of putting it across… an artful way of putting across something scary or apocalyptic. He had an arty way of expressing it so you could actually accept it. It was a bit creepy! It was like all the perverted things in the world are in that song, but he never sang about them. Yet it was in there! I always thought that was such a talent, to make people think something, without actually having to say it. Maybe that says a lot for my mind [laughs], I know! But it's just an amazing ability to do that, I think. That is what music is all about. It's larger than just words. I just feel like 'Scary Monsters' is a great example of that. I would have loved to have played on that one."

"We've been playing The Soft Bulletin live, and you have to consider that chain of events where you make a record but then you have to become the people who play it in front of people. When I saw The Who play live in 1977, that was really a moment that changed music for me; it was no longer music, it was like a deeply religious power to me. They were still doing these songs from Tommy, in a sense like they were on Live At Leeds, where it was just utter chaos, [and] utter release. And even though people would say that at the time that I saw them they weren't at the peak of their powers, they were powerful enough on this night. That was a life-changing, fucking devastating couple of hours of music. I walked out there like I'd changed heads. And it's like that on Live At Leeds. They start to discover that psychic energy: they're feeding off each other's energy, looking at each other, listening to each other, letting that be the reason the songs sounded the way they did. And that's hard to do, to be an intuitive musician - you have to surrender and say yeah, it's like this, and that's a motherfucker, what if it sucks? You have to trust that you have it in you. So when I hear Live At Leeds I'm always reminded that these are young guys, they didn't know that they were playing at their peak, they were just playing what they felt like playing. And the way that the volume goes up, and the way they even lose themselves - the playing is so intense that they even lose the tempo - but they leave that in the record and that's what's music's about. It's not just something that's kept in time, it's people making a racket. Fuck, sometimes it's out of control. There's moments like that on 'Magic Bus' or 'My Generation', moments in those jams that I think are some of the greatest moments of that type of rock & roll. There's that invisible energy guiding them through this. In 1970 you probably had not heard music like that ever.]"