"Two Days One Night, it’s perfectly directed. The way the Dardenne brothers frame her, making her kids’ bed before she goes and tries to overdose in the bathroom — it stays in that one shot. It’s this wide shot, handheld, which nobody does like the Dardenne brothers. I’ve tried to chase it; there’s nothing like it. There’s nothing like watching a scene unfold and becoming something you did not expect in the beginning of the shot. It’s like one shot can tell an entire three-course meal. Also, that movie is one of the few movies that made me uncontrollably sob at the end, because of her power, the sweetness of it. I can’t believe the sweetness; it made me so raw and vulnerable. It’s not just that it’s tragic. It’s such a small story, but I connect with it. I connect with needing people and needing for them to hear from you. I feel like getting heard at the end of the movie, or not getting heard, depending on how you look at it, is so unbelievably moving. Marion Cotillard is the god of our generation. Not a goddess, she’s god!"

"When we were growing up, we had mutual friends. I used to go and watch them play at the Bug Bar in Brixton when I was 14… I remember them getting signed to Fiction and how exciting that was. I’ve still got one of their demo CDs, in a photocopied and stapled-together packet, which had their early song Latchmere on it. Latchmere was a swimming pool we all went to; it had a really good wave machine. That’s how their song goes: “Latchmere’s/ Got a wave machine.” When I watched the Maccabees play at Glastonbury this year, it was so moving – seeing all those random people singing their song back at them, about a little swimming pool that was a huge part of my youth. It took me back… I’d say they’re the most consistent band in the UK right now. Without fail, they deliver with their songs, and I find them very inspiring for that. They know who they are; as individuals, as friends, as a band. They’re lovely boys – and with their new record, Marks to Prove It, they had their first No 1 album."