"The television cut of Fanny and Alexander, of course, which is the one and only version Bergman approved of. It is called the television version because that’s how it was financed, but this is meant to be seen on a big screen with one intermission. It is Bergman’s final masterpiece. Well, not exactly, as he kept on making great films for years afterward. But in the master plan, this is the last actual film, the closing of his main body of work—others are supposed to be footnotes (they’re not). Initially, this film was overlooked because, in the shortened so-called theatrical version, it lost some of the richness of its texture. It was only gradually, when it was revisited in its full version, that it imposed itself, at least on me, as the key to his whole body of work. I had to fit Topsy-Turvy into this list. It is also a period piece. This misunderstood, underrated biography of Gilbert and Sullivan must be one of the most touching, funniest—and cruelest—depictions of show business, split between art and commerce. We see both the torments of creation and the anxieties of the box office. To me, it compares only with Jean Renoir’s French Cancan."

"My sister and her friends were obsessed with the Red Hot Chili Peppers, I remember she would be singing these crazy, filthy lyrics, and I’d think ‘what is this band?!’ Again, I was playing the drums, and I enjoyed the drums. There’s covers on this album of ‘Higher Ground’ and Sly And The Family Stone’s ‘If You Want Me To Stay’, which were songs that I had heard but didn’t really know. I think they’ve become an establishment band in a weird way, but me and my friend James went through this period of watching old Red Hot Chili Peppers stuff on YouTube and it’s amazing! When they were young they were crazily charismatic. I think it’s because they’re still going that they’ve become this band that’s a bit more disappointing. But there will come a time when people realise they were pretty unusual; this is quite a good record! I heard ‘Give It Away’ or something like that in a record shop, then going to the counter to try and buy what you assume is the album that that’s from and ending up with the Greatest Hits. I could have included Incesticide as well, I bought it because I thought it was the cheapest thing I could find!"

"Well I was always a Sticky Fingers and Goat’s Head Soup guy. But I never really understood Exile…. Well it was more that everyone was going on about it and I didn’t understand why. And I just thought there were too many songs on it, and too many unfinished ideas. And you kept seeing all these editions of it. I hate it when you’ve got a band like the Rolling Stones who have millions of brilliant songs and loads of great albums and someone goes: “But THIS is the definitive, mega album.” I just don’t like being told that, so I was always quite resistant. But then last year I just said: “Enough is enough, I’m going to stop fighting it.” I read something amazing about that period of their touring and how mental it was, and I thought, “Fuck it, I’ll listen to it again.” And I listened to it, and haven’t stopped listening to it! I love it now. It’s got loads of brilliant songs on it, but they aren’t like mega hit songs, if you look through the list you don’t see what you would consider to be one of the all-time golden classic Rolling Stones songs. But when you listen to the album it just makes sense."