"""This one is like the mystery house on Escape to the Country, it’s a curveball. The point I wanted to make with ‘2-4-6-8 Motorway’ is that it’s not one of my favourite songs, the point is it’s always been there but I only really discovered it and fell in love with it in the last couple of weeks. That’s one of the most exciting and inspiring things about making music, discovering songs that have existed your whole life, even though you may have only been semi-aware of them. “I’ve always found it much easier to place my faith in songs that have existed my whole life than a new band or a new artist, you know what they are, you know they’re not going to let you down, they’re not going to do anything sexist or say anything racist or make a terrible second EP. “It’s also so exciting discovering things, I love all those reissue labels like Light in the Attic and finding these treasure troves of records and artists that have been there your whole life, like ‘How has this existed my entire time on earth and I’ve never stumbled upon it?’ ‘2-4-6-8 Motorway’ is a stone cold classic, it’s very British, it’s a big song."""

"In the same [kin] as Ordinary People, I have to throw All the President’s Men in there, which is a completely different film for Redford to do, but probably one of the greatest journalism films of all time. There are so many elements to that film that are unique to it. The relationship between [Bob] Woodward and [Carl] Bernstein, the way those are portrayed, and then just the whole mystery of the Watergate being spilled out for us. When that happened, I was… I don’t remember, I must have been three or four, five. Those were the years — that was the first time I can remember in my lifetime of something going on politically, and so I actually have memory of that time. And I don’t remember what it was, but I remember the words “Watergate” meaning something. Meaning something big, even though I didn’t understand what they were. Just for that film to be so dialogue heavy, and so all about performance, and the written word, it is one of the most on-the-edge-of-your-seat thrillers that I can think of that is pretty powerful… It’s the most riveting film about people who sit down and type, you know what I mean? You can imagine, it’s pretty intense."

"There are a few different ways to experience the Twin Peaks franchise. One is as pure vibes—as Brenda Walsh puts it, “it’s not hippie witch, it’s Twin Peaks and it’s very in.” That’s easy to dismiss, but honestly it’s often what gets me to watch. Another way, and this seems to have gotten increasingly dominant lately, is as a puzzle-box mystery-mythology, a more arcane Lost. And that’s wonderful, if only because it encourages a communal conversation to untangle it. But Twin Peaks is also about a teenage girl who was repeatedly raped and ultimately murdered by her father. About how the ongoing abuse shaped her whole world, creating desires and addictions that terrified and excited her, and drawing in a circle of men fascinated by the prospects of saving and/or exploiting her. About how the tortured energy she exuded made the other girls, even her best friend, jealous. It’s a scenario so human and awful that those people—or a viewer—might need a whole fantastic mythical framework just to be able to take it in. Twin Peaks: Fire Walk with Me foregrounds this last aspect. And that’s why, to me, it’s the beating heart of the series."

"Really for me, it’s Paul Newman in The Hustler. When I watched The Hustler, and it’s Jackie Gleason… You know, we know Jackie Gleason from The Honeymooners, but you have to know Jackie Gleason from The Hustler. When I watched that movie as an actor and as a lover of acting, again, those performances from those two men are standalone performances. My father is a big reason why, because I fell in love with acting very early on, and my dad introduced me to the actors that he grew up watching, and I had the opportunity, watching these films, to really get a master class in being an actor. Listen, I just turned 35 in March, and my goal is to become an actor capable of telling the type of stories that Paul Newman got to tell, and that Redford got to tell, and that Cary Grant and those guys got to tell. You know, you talk about the comedy and the mystery and the intrigue and the drama; these guys honed in on it all. And when I watched The Hustler, out of the long list of amazing performances that Paul Newman gives, to me, that movie just stands alone."