"I’ve always been a fan of Miguel. I remember listening to Kaleidoscope Dream in a hotel room in New York; there’s this real sexy, urbane quality to that album. His next record, Wildheart, has a real lo-fi sultriness—there’s this weird disparity between those two things, because people think of sultry as being writ-large, with this polished quality, but when you give it this bedroom-recording quality, it adds a sensitivity and a vulnerability that Miguel just has in spades. I love the way he spells out the titles of his songs in lowercase, too. He has a way of being sweetly diminutive and then larger than life. “Told You So,” from his new album, War & Leisure, really grabbed me right away. I first heard it when I was in my bedroom getting ready to go out, which is really important music listening for me. It always feels like a motivational soundtrack and returns me to my teenage self: creating an imagined narrative that usually never comes to fruition. I always think the getting-ready part somehow supersedes the experience itself. It’s better than the party. Even when I’m alone, when I’m still in the realm of fantasy of what the night could be, it’s always better than what the night is. And I’m definitely just talking about going out to very pedestrian events—it’s not like I’m going out to some wild dance party. But music has always accompanied those moments of trying on different clothes, looking at myself in front of the mirror, trying to do something even remotely reasonable with makeup—it always feels aspirational, and buoying. That was the first time I heard “Told You So.” I really thought, “This will be my going-out song for the next six months.” And it has been."

"I love the scope of the movie; there is something in David Lean that I like very much. He’s always of the macro worlds and the micro worlds; he didn’t only do it in Lawrence of Arabia, but repeated it in Dr. Zhivago and other movies. [In Lawrence of Arabia] he made a movie with enormous scope and events that were known in the world — the Turkish-British War, and at the time, the taking of Akaba — things that were very spectacular and very epic, but in reality he’s talking to us about the homosexuality of one of the characters and something really minimalistic and very precise. He gets into the soul of a man through this spectacular movie and this union of these two worlds. He did it again in Dr. Zhivago as I said before, because in a way he put together the entire Russian revolution, which is also very big, while in reality telling a love story. So this kind of union, joining, he does between the macro world and the micro world is something that I was always interested in, and he was a master of doing the type of job. It’s one of those movies that always remain in your mind. Also, he gave himself permission to do it in a way that probably no studio would buy in our day; just to see a man coming from five miles into the camera for two minutes and a half — no executive producer would allow that to happen! He gave himself permission to do that, and I had the luck of seeing a remastered version of Lawrence of Arabia in a theater in Spain 10 years ago, and it was magnificent because it gave you the possibility of thinking, which is unusual. We also have the performance of first time movie actor Peter O’Toole. That was the first movie that he did, which I didn’t know until I worked with Omar Sharif in a movie that I did years ago called 13th Warrior, and he told me that. At the time, he was a very prominent theater actor in London, but that was the first movie that he did. I will never forget those blue eyes on the big screen. Amazing!"

"The ‘60s was such a powerful decade for music, but in the ‘70s it suddenly felt really old to me. If you’d have asked me about The Beach Boys and The Beatles at that point, I’d have called it a load of old tosh. I was looking for my thing and the new thing, and Bowie led me into The Velvet Underground, which led me into glam rock and the New York punk scene. I remember first seeing ‘Starman’ on Top Of The Pops and I’d never seen anyone who looked like David Bowie did - it was all sparkly and mad hair, but the song sounded amazing. The message of there being something out there for you really hit home with a lot of people who were my age, and it came at a time when everyone was searching for something that our generation could call music. Bowie had his moments as an artist, didn’t he? It’s a controversial thing to say, but I think Ziggy Stardust and Hunky Dory were the only great albums he did really. He had fantastic tracks from other albums - I love “Heroes” and I love “Ashes To Ashes”, they’re brilliant songs - but in terms of albums, it’s Ziggy Stardust and Hunky Dory that mean a lot to me.”"