"She’s got an album out called 'Vows,' and 'Settle Down's' music video is just really creative and really different. I just thought it was a rad song. I actually will say with pride that I was on the ['Somebody That I Used To Know'] train before it took off, too. I found out about it from some friends, on a Facebook post, before it was even getting radio play… [Gotye] sounded a little bit like Sting to me, and I was excited to see that it did so well."

"The remaining three are films that I just feel are nearly perfect. The Graduate, from top to bottom, visually, sonically, performance-wise, the energy, and the time when it came out, and what it represented – that whole Holden Caufield sort of aspect to it. I think the music, obviously; there are very few films where the music has been so married to the actual film itself, and I love that about The Graduate. It seems like that’s the way it always should have been. It’s just amazing to me how perfectly it complements the film."

"Oh Jesus, have you heard that album? I just recently found that. I think it was when I first got a Moog, and I read the history of it and I heard Jean-Jacques... he was one of the first ones to use it in a pop way. I read a book about him. I didn't know that Edith Piaf sponsored him to come over to the United States. He had this instrument - I saw it on YouTube - that really, at the time, just sounded like the violin and all these other things, and it was just incredible. Also, he did a version of 'Flight Of The Bumble Bee' and he recorded a hive of bumble bees and then went back to his laboratory and spliced them individually - amazing! He kind of looks like my dentist, he's such a nerd! Disneyland uses his version of 'Baroque Hoedown' for their Electric Parade. When he went to Disneyland to hear it he was like, "Wow", he was amazed! I think at one point Disneyland stopped using it and people were like, "What the hell?! What happened to that music?" So it came back. To me, that's part of the attraction, it's wacky, it fits in with all these lights and the kids love it and all that stuff."

"After that would be Young Frankenstein. I think that, laugh for laugh… I mean, if you’re going to go for more laughs, I think Blazing Saddles. But Young Frankenstein‘s just a better movie. More solid. And it’s Gene Wilder. I was such a huge fan of Gene Wilder when I was growing up that I even used to try to do… He used to do something; he would say nonsensical… He would make noise in movies without words. He would say things like: [mumbles incoherently], like that, and it made me laugh so hard when he would do that, that I would try to put it in movies when I started acting. I did a movie called 28 Days, and I’m in rehab, and we’re in a circle talking about our feelings, and the script said, “She calls on Gerhardt, but he’s crying and he can’t respond,” and she says, “Okay, we’ll come back to you.” And so it came out. “Gerhardt, would you like to say something?” [bawls incoherently] And I just make noise. [laughs] And then I snuck it into A Knight’s Tale when I’m trying to threaten Chaucer for the first time. I’m like, [frustrated mumbling]. I would just rip [Gene Wilder] off, totally try to mimic him. So, Gene Wilder, huge fan. That’s number two."

"I didn’t play on that one either, and also heard it for the first time while listening to the radio. It just has an indescribable feel about it that involves a lot of yucky things from life. You can watch a movie and it will have horrible bits in it, but it will have nice bits in it too, and if you didn’t get through the horrible part of the movie, then the nice bits wouldn’t be as nice. That was one of those songs like that, where it was nice, but it was horrible as well. For me anyway! I could include more from his career later on that I really liked, of course, but certain ones just hit me as a normal member of the public, so I wasn’t going: “Oh this is a Bowie song, I better hear it,” I just heard it and it caught my attention. That just happens sometime, when something is playing in the background and then it just grabs you, while you might be doing something else."

"I have such a linear brain, so I admire filmmakers like Nicolas Roeg who can make these incredible montages that tell a story more associatively. It doesn’t seem like a huge effort for him; that’s just the way his mind works. There’s this feeling throughout the movie that there were many different ways that it could have been put together. When we were making Meek’s Cutoff, there was a scene we shot in which a Native American goes on a dream quest, and the writer Jon Raymond and I rewatched this for inspiration."

" I’m very lucky because I do it at the BBC, so there are no advertisements, and I’m allowed to choose all of the music myself and invite people in to interview them. For instance, there’s a group of girls called Stealing Sheep and I quite like their records, and there’s a label called Clay Pipe Music that releases really nice, short-run albums, often kind of pastoral sounds, sometimes electronic stuff. I can really just make the show two hours where I share stuff that I like with people. I love doing that."

"Normally if a movie doesn’t have a monster in it, I’m not interested. All I like are horror movies; but I don’t like slasher movies. To me, just seeing people getting hurt, that’s not entertaining to me. My favorite things of all time, they have to have a supernatural element to them, and there has to be a sense of romance to them, and an otherworldly quality that makes you feel like there’s more magic in life. So for me, my five favorite movies of all time are the ones I’ve watched over and over and over. Number one, just first and foremost my favorite movie of all time — The Mothman Prophecies, with Richard Gere and Debra Messing. Have you ever seen that?"

"Finally I’m gonna say The Wizard of Oz, because that movie, again, is not like any other film — it’s a completely original experience and it has stood up against the test of time. Children are still enchanted by it, adults are still enchanted by it, and nobody has ever been able to capture that feeling since; and it’s a musical. Plus, that first introduction to color film, that doorway sequence and going in to Munchkin land — it’s just mind-blowingly beautiful. And her performance, her voice, Judy Garland — you know, they don’t make ’em like that anymore. So, I would say those would be the top five."