"I mean, it’s like a massive, big epic, that is all from Richard Harris, Morgan Freeman, and Clint Eastwood. And that ending is incredible, and it starts with Gene Hackman going, “Death’s got nothing to do with it.” It’s just brilliant. “Fat man, get out of the way.” “Who owns this s–t hole?” I mean, it’s wonderful. And highly quotable."

"I loved this book and couldn’t believe it took me so long to come across it. It’s about growing up and the grown ups that haven’t quite. Set in a properly upper class English world that I’ve only ever witnessed in books, I was tickled to read about these kids hiding and conspiring in airing cupboards (just like I did as a kid)."

"I've heard their new album about six times on our trips together and I don't think I've embraced it as much [as Smile], 'cos it's got a more 80s sound. It helps that I'm not sure what these guys are singing about. It's not music that could have been done by an American group. I like the fact that it's done by these fucking drugged out Japanese dudes. There's probably something in one of those eight minute long jams that I picked out and thought 'Oh yeah! Cool! Let's hear that again'. There's something about these long passages that aren't going to tell you a story, it's not going to tell you an answer, it's not about a melodic piece playing out. It's just holding you out there on the edge, like, what's happening next? I don't know, I don't know. There's a lot of music doesn't mean anything, so it just spins my mind where I'm not thinking about anything. That's a great druggy calling that their music has for me. It suspends you, and you're free - you're just listening to Boris. That's the only thing in your world at the time."

"This came out when I was 14 and had just started learning how to play guitar, so that’s kind of the album that coincided with me wanting to go into music. No coincidence. The first album I ever bought was Run DMC’s Raising Hell and that had Aerosmith on it, so I was always interested in Aerosmith. I think Pump sounds really special, it’s my favourite Aerosmith album – and I like a lot of Aerosmith. There must be a technical thing about it, because it doesn’t sound like other rock albums. You know how a lot of metal albums have scoops of the lower-middle absent, but there’s a lot of bass and a lot of trebly stuff so it’s like an assault? Well, it seems like the Pump album has got some lower-mid presence, so it sounds like it contains a real drum kit – it sounds like you’re in the room with them. I love the ballad ‘What It Takes’ at the end. It’s just awesome. I loved the way Aerosmith would arrange their albums. You would have about 10 songs and it’s all innuendo and riffs and sex music, and then the last song is the cuddle. I think that’s brilliant. I thought it was timing at first. Kevin Shirley produced Nine Lives for them, and I thought that was a brilliant album too, and I love Permanent Vacation, but I was a bit young for that. I think it’s just a really concise record and even when it has the interval bits between certain songs… you just can’t listen to one track, you have to listen to the whole thing to get the vibe."

"I’m going to throw The Goonies in there, because as a kid, that was just the ultimate fantasy. That was every kid’s fantasy. I watched it over and over and over. The fact that they slid through the rocks, and she’s playing the bone piano, and all that kind of stuff. You’re like, “What? Is this really happening?” And it never gets old. I saw it recently with my daughter, and I was still into it."

"And then I’ll go to my next one. Aliens. Jim Cameron, Sigourney Weaver. Dude, again, I am a “big movie” guy. I like the small, poignant indie, but you know, give me a Summer flick all day long. That’s what I grew up on, that’s my era. I mean, I remember seeing Star Wars at the drive-in; I’m that guy. But Aliens really upped the game for what the horror genre could be, you know what I mean? Because it was this weird mix of action and horror. You know, the first one was like straight horror, like oh my god, the creepiness, the ickiness of this thing. But then in Aliens, you’re like, “Yo, they got Marines! It’s like that? This is nuts!” It just created this frenzy in me that was like, oh, this is how it’s supposed to be done. I’ll never forget it. Any time Aliens is playing, I can’t turn away. I cannot."

"I like movies like Gone with the Wind, or The Unbearable Lightness of Being, but I’ll actually choose Traffic. When I did not speak the language, I watched the movie sex, lies, and videotape, and I didn’t understand; I thought American movies were always blockbusters, hard movies, with action and male leads. But that film was like pieces of life, pieces of dreams. I did a movie called Nipples, based on my dreams, with different characters coming together…very sexy, and very modern, and very open. I think that’s something that’s very contemporary and I didn’t think a lot of American directors were [that way]. [Steven Soderbergh]’s mind is very modern. I like Traffic because he shot it like a documentary, but there’s mystery, there’s modernity. There’s an unknown danger in it. When the characters are crossing the border — I just like the momentum of life, when people cross each other, when lives cross each other. In that moment of life, what can happen."