"Those performances. Timothy Hutton’s performance in that is probably the most directly inspiring to me, and that’s a young guy at the top of his game, emotionally raw, and brings everything that a young actor could want in a performance. I feel that that film is the most heart-wrenching and true portrait of a family maybe I’ve ever seen. To describe it well would reveal too much. That’s what’s brilliant about it. Everyone should watch it and watch Mary Tyler Moore with Timothy Hutton and Judd Hirsch. I can’t believe it. I just can’t believe that movie. It seems like such a simple concept, and yet Robert Redford kills it. The scene that always gets me, hits me so hard, is a small scene that not many people would say they love. Most say the big breakdown scene with Judd Hirsh. For me, it’s the scene where Timothy Hutton has been going to Judd Hirsch for a little bit, and he’s opening up. It’s such a journey of what it means to be vulnerable and the importance of vulnerability in your own family, especially after trauma. My character in The Cat and the Moon is very much inspired by Timothy Hutton’s character in Ordinary People. His journey of being so closed off and edgy to cracking open into this well of unmined emotion. Particularly the scene where he and Donald Sutherland, who’s amazing as well, are decorating the tree — ugh, the Christmas tree. It’s such a sweet scene. Mary Tyler Moore comes home, and she’s got this cold, dark look on her face. I’ll never get over her facial expressions in that movie. What she’s thinking versus what she’s putting on the surface is the most genius magic trick. It’s the most exhilarating thing ever. That movie is the best."

"What a great songwriter and lyricist Shane MacGowan is. It’s funny as last night I was going through some of these again to listen to them, as they’re maybe records I hadn’t listened to for a while. Rum Sodomy & The Lash is one I hadn’t played for a while, but I knew it was one I’d played to death at different points in my life, so I thought “I’ll go back and listen to that again, I wonder if it does hold up”. There are other records that I thought would make the list that didn’t make it, that I still thought were good and I can appreciate why I loved them when I was 16, like Fresh Fruit For Rotting Vegetables, which I still think is a great record, but there’s something that makes Shane MacGowan one of the greats of the century, like 'The Old Main Drag' – you don’t know when it’s written, like 1912 or 1982, you know? Very few people can write songs like that. Music that is specifically about place and characters yet it seems timeless. To pull that off is astonishing. Also they saved folk music from the twats; unfortunately they seem to have reclaimed it in recent years. Suddenly folk music became violent and soaked in whiskey again as it should be! In a way that the Irish community in London are neither Irish nor London, they’re just their own thing; The Pogues were neither punk nor folk. Shane McGowan’s delivery – he can take a song like Ewan McColl’s 'Dirty Old Town' or 'A Pair Of Brown Eyes' or 'The Band Played Waltzing Matilda' and give them a poignancy or life or meaning, or a dirt and raw-bloodied abrasiveness which most performers could never bring to a place like that."

"I think it’s probably one of the most inspirational movies for me because of Paul Newman‘s performance. I think that is, to me, some of the best, [most] controlled acting in a movie. I think that he has this incredible likability. Even though he’s a drunk, washed-up lawyer, you’re still rooting for him from the very beginning. I’m that sort of weird guy who will watch a movie almost every day if I can. It’s harder when you’re working on the show. I buy a lot of movies on used DVD so I can have certain scenes. I was really looking for things to inspire me. When I got out of college I was waiting tables professionally [and] couldn’t afford to go the theater [every] night. I think those great movies can actually make you feel a certain way. Not only emotionally, but if you’re in this business, it’s one of those things where you see someone do something that good and it buys you a year of energy. That’s what I was really looking for. It sounds so cliché,[but I wanted] to bask in the glow some of these amazing performances, like [those of] Dustin Hoffman and Marlon Brando. But it was also fun. To get back to what I was saying before, that 1970s raw energy, it’s almost frustrating now that people aren’t making more movies like that because people won’t go see them. Even Away We Go is, in a way, a tribute to the 1970s movies, too, but more of the Hal Ashby thing. Again, I don’t think people are making movies like this, so for Sam to do it is incredibly cool. And the fact that my name’s on the poster is totally surreal."

"This was the same year as the Roxy record. Mott has split up by that point. They splintered: Mott the Hoople became simply Mott and Mick Ronson and Ian Hunter went off doing their own thing. You could follow them both. I saw Mott at the Top Rank and I saw Ian Hunter and Mick Ronson at Sheffield City Hall. This still sounds fresh today: it was raw, done in a month. His guitar playing here is as good as it was on any record. There was a solo on a song called 'The Truth The Whole Truth And Nothing But The Truth' - it's one of those things you'd play to a kid whose learning how to play the guitar. The way he winds it up; the sheer pain in the song. Apparently at the time he'd read a scathing review and was fucking furious. He went in and did the whole thing in one take. And I'm thinking 'in a parallel universe, this would have been the next Mott the Hopple record' you know? But my god did the other guys blow it; my god did they blow it. This would have been such a great Mott record. To this day, Phil Collen [Def Leppard guitarist] will say his vibrato is Ronson's vibrato. A lot of people can't do vibrato properly - Phil was definitely influenced by it, also by that beautiful open whammy tone. I'm not sure how it leaks into Leppard as a whole. I think the most logical theft we ever did was the 'Whooaah' section on 'Photograph'. The guys in the band are all great singers; they're arguably better than me. Put the four of us together and it's like Queen round the mike. Well: almost..."

"Well, that was another one I burned on my way. At first, I was into the earlier John Coltrane, and then when he went into more free jazz, at first I didn't like it as much because I was so into his early tone and the swing and the melody of this more classic jazz, but the next one's more like that. Jesse [Trbovich, bandmate in the Violators] turned me on to it. We got stuck on the way home from an LA show or somewhere, we got dumped off in Phoenix, Arizona, and we had to stay for the night. We knew a really good record store there, Revolver Records, there was just a ton of jazz. I was wanting to stock up so I got Interstellar Space as a recommendation. When I first listened, I was like, [shrugs] yeah, 'cause he's just freaking out, just him and a drummer, Rashied Ali, then I burned it anyway. Usually what happens is that it sounds so good 'cause it's burned from those original vinyls and then you crank it in your headphones and it just sounds unreal, so that's what happened with that one on the way to Joshua Tree. My mind was blown and it's just so open and such raw emotion and so psychedelic without any of the pretensions that 'psychedelic' eventually became - he's just the real thing. It's just wide open and sprawling. 'Lost My Head' for sure has that jazz influence... obviously it's a white man's, with limited skill. The convenience of the key of C, for instance - you play all those sevenths with the same formation all over the place, so that's why the piano's beautiful, but that's got the McCoy Tyner or whatever thing in it."