"This album is fucking awesome. Right from the moment I heard it. I discovered Iggy and the MC5 through the NME in 1976, after I saw the Sex Pistols in June of '76, and was reading about it. That was the place to go to find out about gigs and whatever. A family friend of mine who was a bit older than me, he was fantastic at finding this stuff, he was the guy that actually took us to the show, Ian – his brother Neil was about my oldest friend, and he took us down there. That is an experience in itself. And then you find out without doubt Iggy really is the godfather of punk. That's one of the best titles. You hear about J.B. being the godfather of soul; Iggy without doubt is the godfather of punk. Again, what's brilliant about Fun House is the engineering, the sound is so heavy, it's just magnificent. His voice, the grooves, everything about it, it's as great as it was when it was released. It – will – never – die. This is an eternal record. I think I might have freaked Iggy out a little. He did a small show in Cannes, during the film festival. It was a tiny gig, but he was awesome. And I'm standing in the front of the audience, literally singing along to every word. He played most of the stuff from that thing, and I don't think he knew who I was or anything, but I'm like bobbing my head, going nuts, it was the first time I'd ever seen him perform live; he's such a great live performer. Obviously the music I make isn't influenced by it, but that doesn't mean to say you can't love it. I have a profound respect for him. I even love Raw Power – the sound is very odd on Raw Power, but that's what's kind of great about it, it sounds so weird. But Fun House is the one that just encapsulates them for me."

"Going in a little different direction, Apocalypse Now is an unbelievable piece of cinema. Just the scale of the production and the performances. I feel like, narratively, it’s one of the… There’s a subgenre of Vietnam movies, obviously, and this one just feels so epic and operatic, in no small part because it uses Wagner’s Ring Cycle as the score for one of the great battle scenes. I don’t know, I can’t say enough about it. And then, of course, seeing Hearts of Darkness, the documentary about it. That just made me love it even more, because you can see the creative depth that Coppola went to, the depth of his soul that he dug into to not just make the movie and keep it together, but to sort of fight for coherence in a chaotic production, and I love the discovery. I mean, clearly, when Brando showed up on set, it was such a disaster, because he didn’t know his lines and he was a hundred pounds overweight or something, and he basically refused to learn his lines. But then Coppola worked with what he had, and to me that is the most… He wound up with something genius and more coherent than what may have even been on the page originally. There’s a quote by Orson Welles that the absence of limitations is the enemy of art, and I feel like Apocalypse Now is a kind of great tribute to that idea, because Coppola just faced so much adversity making the movie. Not just Coppola, the cast, the crew, everybody faced so much and dealt with so much and then created this transcendent piece of cinema that captures a dark piece of world conflict history and some very intimate stories of young people sucked into it, and then, of course, a meditation on the darkness of the human soul, which is an important thing to explore artistically from time to time."