"This is another film my grandfather showed me at a very young age. It was one of the first times I ever saw reality unfold like that on-screen. The more I watch it, the more that different things pop out. When I was young, this was the first time I ever saw an interaction between an African American and a young Italian kid—and that was big for me, because when I was in Italy my mother was always the only African American around and I was this young Italian kid. So seeing both these cultures represented, and seeing the way they’re represented, made me realize cinema could reflect life—that it’s not just about entertainment, that it can be about something very real. When you really think about the postwar years, the image of Italy was very much constructed through Rossellini films. In the era of Fascism, people like Rossellini and the partisan movement were silenced, so it’s not that they didn’t exist—it’s just that they weren’t allowed to be as vocal because their lives were at stake. The fact that he gave a voice to this movement, showing that Italy did in fact have this fiercely anti-Fascist side that suffered as much as anyone, I think was very important for how Italy has been seen in the postwar years. It’s one of those rare moments when a director has this deeply personal film to make that also coincides with one of the biggest events in world history. I’m definitely drawn to this tradition of filmmaking because I grew up on these films as much as I grew up on Disney."

"This had a massive impact on the way my parents brought us up, especially my dad, who's a singer himself. Here were a family from the North digging into old songs and traditions, and it made Dad really interested in doing the same. He became a member of a longsword team – I know – and then he got into reviving Mummers' plays, including the only surviving Mummers' play including its own dance. Every Boxing Day, us kids would be dragged down to see it, Dad playing this character who would be killed and brought to life again [laughs]. So many of our rituals as a family were about similar things: carolling on the green, singing folk in the pub and having this real passion for the seasons. For me, revisiting tradition is very rooted in wanting to recognise social struggles, the situations of the working classes, and the pastoral. These songs aren't about looking backwards and inwards, but about learning about the realities of your culture and wanting to share it with others. I remembering going to a Swedish festival some time ago, being encouraged to share songs from where I was from, and realising then what a very powerful currency those songs were. They help you connect with other countries' forgotten stories and emotions – and actually, that's something that happened to me in Harare doing Africa Express as well. These Ethiopian women encouraging me to sing for them, and then watching their reactions… it's very moving seeing people respond to these songs from different parts of the world. It makes you realise there's so much that connects us."

"What a beautiful guy. He was so sweet. I mean, every song he’s done is my favourite. You can’t go wrong with them. Some of the songs aren’t as good as others but most of the ones he wrote with Joe Melson and Bill Dees are great. I’ve just recorded ‘Running Scared’ for my new album, Longwave, and he once told me that ‘Running Scared’ was his personal favourite of all the songs he’d ever done. I actually got to work with Roy and be his pal and be his producer and his co-writer on a song called ‘You Got It’ which was a big hit in America and here too. So that was a big thrill for him to have a hit. And it was his first hit in 20 years and we’d done it together and that was a great, marvellous feeling. In real life, he was actually a very funny guy. And he could do all Monty Python sketches on his own! He did all the parts! When we were doing Wilburys videos, we’d be going in a van to Grand Union Station in LA to film ‘Handle With Care’ and he’d be doing Monty Python sketches. And he’s got this enormous and most infectious giggle you’ve ever heard and we’d all be giggling like schoolgirls after a minute or two and all fucking fall about! He was a lovely guy and if he was sad he never showed it. When Roy died we did talk about getting someone else in but we thought that nobody could replace Roy Orbison."