"It's no more complicated than Spirit. It's interesting what happened after the war with music and arts… In Europe [during the war], arts and music were used to further ideals, that the artists and musicians didn't share. There were people forced to make state marches, forced to glorify ideals they didn't really hold true, and the power of bullying had its most epic day. Post that, the album saw everybody throwing all the rules out. In that period of experimentation, classical music went through a very interesting walk, and when it came back, it seized on a different kind of experimentation, all of western art became more generous, and the most generous music is the stuff that rewards the listener the most. And I haven't found the same heart in any record other than those last two Talk Talk albums. They need to be listened to loud and they need to be listened to over and over again. And I'm stunned every time. How they make me feel is because of the generosity of spirit, it's like weaving spiders' webs from scraps. So delicate, so precious, but not a note or tone is uneventful."

"I love European cinema. I made a proviso that you have to watch it with the Swedish subtitles on, not dubbed in American. It’s terrible when it’s dubbed in American. It’s really a drama. It’s the story of a young boy who meets a young girl who just happens to be a vampire. But the editing, the way they show the bleakness of the world, the way that they show a period in time which is nondescript — they say it’s the modern world, but it feels like the modern world that has gone by somehow. Very beautiful part of the world, it’s sterile and full of snow. I watched that one night; a friend recommended it to me. I was in my house on my own, at night, was very scared of it, and fell in love with it. I’m not a huge fan of horror movies, to be fair. There’s no reason for me to bring that into my life, that horror element. But with Let the Right One In, it was worth it because the performances and the story were both so brilliant."