"When this album came out, I didn't stop listening to it for an entire year. So much music comes out now that to try and hear all of it is hard, there are few constants. But with this, Liquid Swords was just one of those CDs that never, ever, came out of my car. The way it opened was mind-blowing and its style of storytelling was unique: every single line is like a painting, every single line is a fucking picture. It had this constant stream of mad storytelling that was quite unique to the genre. When somebody comes along with something so different and special like that, a moment that hooks you from the start, it blows your mind. It was a time when I thought I'd heard everything and when it came along it was just killer. Moments in music like this are what I look for, what I seek out – these are the moments that make it all so special."

"No one writes a complex woman like James L. Brooks, and no one embodies her like Holly Hunter. When we wrapped shooting on This Is 40, Judd Apatow gave me a photo of Brooks directing Hunter that I hung above my desk, and I can hear them drawling and stammering and just being who they are."

"When making One Breath, I did listen to Rain Dogs. I love the way that Tom Waits uses really unusual instrumentation, like tuned marimbas, to sort of suggest chords instead of just the obvious guitar strumming changes. “Doing this was a real influence on me, using marimba and not relying on the guitar as an accompanying instrument, but treating it as a character that comes in as kind of a surprise. Tom can make the guitar sound wild – I really like that"

"On Xbox you could burn CD’s and some in games you could play the music in it, so Boy in Da Corner, Songs in A Minor and Speakerboxx/The Love Below were on my hard drive on my Xbox and would get played in any game that could do it in. So as much as this record is culturally significant, I just always had it on and I can just remember vividly it being a part of my teenage years. I think this track in particular because it’s got Wiley as well has that perfect energy, even if I wasn't from here I could tell that Dizzee is from East. It just feels like London, it just feels grey, someone’s pissed off, I don’t even know why or who’s pushed him too far but that could be anything, you know TfL, someone’s stepped on your trainers, someone’s chose not to sit next to you on the bus, you know, it could be anything. It's so angsty. I love music that can make you feel like that. Not that I’m trying to get people to go and moshpit or anything but music’s powerful. I like being able to tap into those things - you were fine before you came to my show and now you're hyped to do whatever, even to this day if I hear ‘2 Far’ I’m in the mode like ‘What! What! Who wants it!’"

"Dumbo is my favorite movie of all time. A remarkable motion picture. Just over 60 minutes, it’s so tight in terms of storytelling. It’s like [snaps fingers]. When you have kids and you watch Dumbo, it really nails you because there’s that “Baby Mine” sequence. I like [Dumbo] because it’s the most cartoony of Disney features. I like it because the main character doesn’t talk. Such a wonderful film. It is very funny. Great music. It also really moves you. It has a really huge heart. Walt Disney always said that for every laugh, there should be a tear. I live by that."

"One more. Let me say Persona, one of my favorite movies of all time. That’s another one that I saw later. I saw it in my twenties, like 20 to 21 or something. It feels like it wasn’t made by a human being, because what it does is like magic. I could never imagine making something of that level. It’s just a beautiful thing of its own, and it blew me away. I don’t know how to talk about it. I love a lot of his stuff, but that one – man – it’s one of the greatest movies of all time."