"Oh, I’m thinking of loads now. I guess A Clockwork Orange. Wonderful film. And actually, on top of that, If… with Malcolm McDowell. If… before A Clockwork Orange, actually"

"The great British director Lindsay Anderson died 20 years ago and he only made five or six films, but they’re all very interesting, and I think his most famous is called If… It’s the film Malcolm McDowell did before A Clockwork Orange, and it’s kind of the ultimate teenage movie. It’s beautiful and very radical. It won Cannes that year, and it’s very much of its time, the ’60s, and Malcolm McDowell is brilliant in it. It’s the ultimate teen rebellion movie — and I like that genre — but it’s also very poetic, almost Brechtian, and there’s almost fantasy elements to it. Like, there’s this woman in the movie who might not even be real. It’s filmed in color and there are sections that are black-and-white and it’s kind of amazing. It’s the first film of a trilogy too. Malcolm McDowell’s character’s name is Mick Travis, and so a few years later, they did a film called O Lucky Man! and then ten years later they did Britannia Hospital together, Lindsay Anderson and Malcolm McDowell. So it’s one of the greater film trilogies in my opinion… It’s definitely worth watching. It used to be a bigger cult film in the ’70s and the ’80s, but I see it’s falling off. I don’t know if young people are watching it the way they used to."

"I don’t know many people who have seen this movie, but it’s great. Are you a dog person or a cat person? Forget Cat People with Nastassja Kinski and Malcolm McDowell—not that the two animalistic movies have much in common other than dangerous, large-fanged creatures and a bit of 1980s spandex. Who knows what possessed Samuel Fuller to cast that straight-shooting seventies TV star Kristy McNichol as the lead? But no arguments here! White Dog is suspenseful, poignant, and entertaining, plus it features some of your favorite Roger Corman all-stars!"

"There was a really good film, and a film I really liked called Time After Time. With Mary Steenburgen, and she wound up marrying the British actor from Clockwork Orange, Malcolm McDowell. My wife and I both really loved the film. It was a great film, and then the fact that they got married in real life. They didn’t stay married, but they had a couple kids together, and I’d like to think that at least for that period, that was real… where life imitated art. Because it’s such a beautiful movie, a love story. Two people from very divergent, different worlds, and I know them both, Mary and Malcolm, and they are two people from very divergent worlds. That’s probably why the marriage didn’t work out. Yet, there’s something about that that I thought was kind of sweet. It was a really good movie, too."

"I was at NYU film school when I first saw If…. The second time was the very next day, when I brought friends and classmates to share this extraordinary movie experience. I have always harbored fantasies of blowing up my high school, but until If…. I never realized that I was not the only one. Obviously If…. was a huge influence on Rock ’n’ Roll High School. In the mid-1980s, I wrote an article about high school movies for American Film magazine in which I opined that If…. was the greatest of them all. A month later, I received a lovely letter from Lindsay Anderson, my hero (I also love O Lucky Man!). We corresponded for several years, finally meeting at the Telluride Film Festival. He called me “a movie brat typical of my generation” for preferring The Searchers to She Wore a Yellow Ribbon. (I treasure his criticism.) Wrapped in a scarf, Malcolm McDowell is as riveting and charismatic as ever in his screen debut. I showed the movie to my teenage daughters, who only know Malcolm as Linderman on Heroes, and it impressed a whole new generation of rebellious teens. If….’s DVD extras, especially “O Lucky Malcolm,” really capture the spirit of the man and the movie."

"Because of Malcolm McDowell I’m gonna go into A Clockwork Orange, because that was the other great teenage performance, along with James Dean in East of Eden. Stanley Kubrick’s treatment of the subject of violence and the mystery of nature and to go against out natures and what is or isn’t necessary, and what is the true evil, and all of these questions that came out of the absurdist and evocative film that is Clockwork Orange, again, is everlasting. And also his lighting: even today when you look at some of the stills from the movie, when they’re in the Milk Bar, it looks like virtual reality and I don’t know how he did it — he was really a master of light."

"Then I would say the next time I remember going and seeing a movie and having my mind f—ing blown was A Clockwork Orange. I was probably about 15 or so when I saw that. At that point in time there were no DVDs, there was no VHS. As a movie fanatic, I could only look at pictures and go, “Oh my god, A Clockwork Orange! I have to see this movie!” But how do you see it? It’s not playing anywhere. Eventually it was playing at a college, and I went to go see it at this college. I was only fifteen years old and it was all college people and they seemed real cool. And it just f—ing blew my mind. And ever since then I’ve been fanatic for Kubrick and Malcolm McDowell. That’s why I love working with Malcolm, because he loves talking about that stuff. You can ask him anything, and he’ll give you all the dirt on how… What is amazing for me too, hearing the stories about the movie, is just how much time they had. Now you have, “Oh, you have an hour to shoot that thing.” And he’ll go, “Oh, we shot that in five days.” That Singing in the Rain scene. They didn’t even figure out the song until eventually he said that Kubrick was like, “Do you know any songs?” And when Stanley would be at a loss for what to do, he would go up to Malcolm and go, “You’re probably going to be sick tomorrow. You won’t be able to make it to work for probably about a week.” And they would shut down and Malcolm would pretend to be sick so Stanley could figure out what he was going to shoot next."

"Alan Price is definitely someone my parents introduced me to, it's one of those stories like, "Your father took me out on a date to O Lucky Man! and I knew he was cool", but then in high school I had the required Malcolm McDowell obsession - all rebellious and of course once you've watched Clockwork Orange you've got to go back to if...., and I'm pretty sure that O Lucky Man! is the continuation of the same character from if.... and it's just one of those great modern fables. I'm surprised people aren't as into it. If you watch that opening scene in black and white, it's kind of the same over the top kangaroo court scene that we were trying to get in the Break Line song 'I'm To Blame'. The silent scene in the movie is brutal but it's also ridiculous and over the top. Malcolm McDowell has a giant moustache, he's like a South American coffee picker - he's caught stealing coffee beans and they go to his trial and this disgusting judge smoking a cigar, drooling, sentences him to getting his hands chopped off; it's very extreme and it just flashes "GUILTY. GUILTY. GUILTY" and we do that in our song with everyone saying "guilty", it's a little O Lucky Man! homage. The line in that song, "In case of murder in the second degree/ The jury now all agrees guilty/ So you will hang, hang by the noose" and my friend's dad said you don't get hanged for murder in the second degree, but we need that "murder in the second de-gree", that extra syllable!"