"John Logan's stunning play about Mark Rothko testing and teaching his young assistant resulted in one of the best evenings I have ever had in the theatre. I keep the script on my iPad to dip into for inspiration and lessons of conviction."

"A dark and unknown masterpiece of animated cinema: the adventures of a little girl taken in by circus freaks who make her suffer the worst atrocities – until our young heroine falls madly in love with the dwarf of the troupe. Its inventiveness is both incredibly visual and poetic, and Midori imprints its barbaric and desperate mark on your soul for a long time after seeing it. The nightmarish counterpart to Miyazaki’s films."

"This is such an important record. It spawned a whole scene of music. You talk to any electronic musicians from the 90s onwards, and they'll say that. And they were just two boys from Leeds. I haven't seen him for a long while, but we worked with Gez, G-Man, we released his records in the 90s and I know what kind of guy he is. But I'd also spoken to Mark Bell, and Mark was very different. When I talk to Gez, I just talk to someone who's made a record, and he's just talking about his music. Mark was very clever and he was obviously the thinker of the two of them. But that combination of the two of them, those two guys: the title track with that bass, and 'Simon From Sydney', again it's a record that we've listened to a billion times. Gez used to say that they were part of a breakdancing crew, they were just mates, and they were so young when that record came out. I think they were 19, and they had a song in the top 20 and somebody on Radio 1 said their music was awful or something like that. They had everything happening at once at a very young age. I'm sure it affected them. But LFO were lads, you know. It wasn't high concept. It was dancefloor. That was what they were trying to do: to move people's butts and shake the bottom end."