"A great, great movie that was unjustly robbed of a lot of the recognition it would have gotten, but it came out in the year of amazing other movies, you know, like Apocalypse Now and a lot of other great stuff. To this date it is the most accurate portrayal of theater folk and what it’s like to produce and be part of theater. As a theater geek all my life, I was hoping that Smash would be like that, and boy it’s not. All That Jazz nailed it, just in terms of the reality of it. But again, it would go off into those fantasies that still totally worked, and worked as incredible dance numbers, but you know, were clearly fantasy numbers inside one of the most realistic portrayals of that subculture that had never been put on screen. It’s f—ing perfect. It’s just f—ing perfect. It’s great because it’s funny, it’s cynical about the theater but also clearly loves the subject matter. You know, I grew up backstage — my parents were actors — and it just captures that world absolutely incredibly accurately. Plus, it’s just a really ballsy, artistic movie from Bob Fosse in that it incorporates a lot of strange stuff, but all of it works."

"This one was one of my favorites because it was the opening track to The Rise & Fall Of Ziggy Stardust. What was wanted was a drum beat to introduce the song itself and to set an atmosphere for the whole album. The idea of the song is that the world is ending in five years, so it was about finding a drumbeat that got that across – which was quite a challenge! I remember going through drum rolls, cymbal crashes and I kind of thought: 'Well if it's the end of the world… I can't be bothered! Haha!' You wouldn't be excited and you wouldn't feel like doing a lot. So, that beat came out of sort of despair and apathy, and then when the band comes in and David starts singing, it just feels right. It felt like a really good beginning, so I was quite proud of that. I nailed the brief by all reports! It's been a lot of people's favorite bit of drumming, which is always nice to hear. They'll say: 'Oh when 'Five Years' starts, it gives my spine a tingle when I hear it!' Well my spine was tingling when I played it!"

"I think when we were kids it was all about Sgt. Pepper’s. There were a few albums that my dad had that we played a lot and that was one of them; we didn’t get far beyond that. And then when I eventually started listening to the old, old stuff, I didn’t like it so much. I realise that the innovations that they made composition-wise coloured all of pop music and a lot of rock as well – it coloured all of music really! But I wasn’t into it, not into listening to it. But then I decided to educate myself on The White Album, and I used it for everything: walking, working out etc. And I love it. I actually saw some footage of Paul McCartney doing ‘Helter Skelter’ recently and thought he really nailed it – I think he still does that song really well. I just love The White Album and I prefer it to all the other Beatles stuff. I can’t explain it though. I don’t even especially like any of the songs, it’s just that as a listening experience you can find yourself immersed in it while running on a treadmill as much as you can laying in your bed. It’s really versatile. I love all the Beatles’ stuff and it’s all eclectic, but I think this album is even more so."

"The Big Lebowski. Jeff Bridges – I almost put Starman down, too, but I really think I kind of don’t remember the movie so much because I haven’t seen it in so many years – but I love Jeff Bridges, and I love the movie he just did. What was it called? Crazy Heart, he’s great in that. But, I mean, there’s something about The Big Lebowski and that combination with the Coen brothers sensibility, which, he nailed that down. I don’t know exactly what you’d even call that, but brilliant. I loved his performance in that, and I loved John Goodman, and I loved Steve Buscemi. And you know who else was great in that, was Philip Seymour Hoffman. He was really good in that movie, too. Yeah, great, great, great fan of that movie."

"Sometimes I nose around on the internet, seeing what people are talking about. I'll download a track from iTunes just to check things out. 'Wanderlust' is one of the things I listened to. I think it's just fantastic. I love the way it's just got that one drumbeat, I think it's a drum machine, I'm not sure, and that's all it does. [Hayden Thorpe] has got a fantastic voice. It's got these sort of crappy-sounding keyboards, organs. Some of that album [Present Tense], I've been listening to it over the last few months, sometimes it's so overly pretty it puts you off a bit. They're obviously in love with 80s synth sounds, a lot of people are these days, and sometimes the arrangements on some of the songs just feel very 80s and slightly too ornate and slightly too pretty. But on 'Wanderlust' I think they completely nailed it and it's really just one part. It doesn't go through lots of different sections, the way the vocals and the music develop. It's a great song, very poppy, very pretty, driving and it makes its point."

"I watched [it] just about every day growing up. In like seventh or eighth grade every day after school, my friend Andrew and I would watch Wayne’s World. And I think it’s a great example of a sketch effectively turned into a movie and a story that really works with a good journey. Not easily accomplished but such a good journey. And I’m drawn to it because I watched Saturday Night Live growing up, but also I think the duo of Mike Myers and Dana Carvey, who are both from the same world and yet are such different guys. You know, the sort of confidence and leadership of Wayne and then the understated kind of genius of Garth: very meta and self-aware, which at that time wasn’t all over TV and film yet. It’s like the cross promotion for Pepsi and Advil and all that kind of stuff wasn’t overly present yet, and I think he really nailed it."