"I could be obscure about my last record, but that's not very honest. I'm not that cool. This is poetry again. I think I just like the sounds on Graceland. I enjoy music on different levels all the time. I think, because I play music, or because I'm a singer, I enjoy singers, or because I write songs, I like songwriters. Or because I get to be a part of production I like the production but some things I just connect to on a sonic level. But it's all the same really, it all comes and does the same thing and makes you the artist that you are. And honestly, I also chose this because of 'Graceland' the song, because it talks about Graceland, and it came along at a time when I really needed to hear that song. Just the song itself. I feel really, especially in the past two years, really connected to that album. I'm borderline obsessed with it. You know it's my dream to remake that fucking video for 'You Can Call Me Al' and I've had the worst time finding someone to do it with me. I want it to be Gwendoline Christie from Game Of Thrones. How amazing would that be?"

"When I first saw Brazil in the late ’80s, it hit me like a truck. It was such a powerful, bold vision, so joyous in its escapism and so crushing in its ultimate nihilism, that it left my teenage mind in tatters. I wasn’t quite sure what I’d watched but knew it was unlike anything I’d seen before. The impressive (and somewhat sad) fact is that, decades later, I still haven’t seen anything quite like Brazil. It escaped from Terry Gilliam’s brain with such velocity that its power even today is undeniable. I showed it at the New Beverly Cinema in Los Angeles in January of this year, and it still confounded me. I asked Terry Gilliam if he would write a quick intro for me to read out before the screening. This was it: Brazil was made by a bunch of young people who didn’t know any better. They are older and wiser now, but it seems America isn’t. It’s a pity that George W. and Dick Cheney aren’t still running the show. I was tempted to sue them for the illegal and unauthorized remake of Brazil. Just think . . . more people are living my movie than ever went to see it."

"To go back to the ’30s, which is the movies I saw when I was growing up on television — it was one that they never showed, because it was lost for years and it was by James Whale. It’s called The Old Dark House, 1932. It’s currently about to be reissued on Blu-ray. For years, all you could see were these sort of beat-up prints I think they found in the mid-’60s, and they had been lost, because of a remake and some rights issues and stuff. Now, it’s sort of come back, and it’s got a great cast of Charles Laughton, Gloria Stuart, Boris Karloff, Melvyn Douglas, Raymond Massey. It’s the classic “travelers stranded in the haunted house and the bridge has washed out”, but it’s the template for all the movies that followed it. It’s still one of the more watchable and disturbing movies from that period. And it’s a shame that it isn’t better known; it never got television distribution, and it wasn’t included in the package of Universal horror pictures because it wasn’t in their library anymore. It’s a chance, I think, for people to catch up with it now. I’m a big James Whale fan, and this might be his best picture."