"Who hasn't had the discussion of favourite Bowie albums? And I always go for this one. There's so much behind it in terms of knowing that just weeks or months before it, Bowie had met Mick Ronson and you know that this is a very new relationship and what Bowie had just come from. And it's kind of like the birth of The Spiders From Mars. It's quite complex in a way and I feel everything around it and the importance of that record. I guess that at the time this must have been quite a mental album for people to hear; it must have been quite insane. You know, like: 'What the fuck has Bowie done?' It's this really dark, fucked-up record and that plays a massive part in how I feel about it. I feel the same way about 2001: A Space Odyssey which I saw again the other day for the first time in about 15 years. And I wonder how it must've been for people when they saw it first time around. Sci-fi back then was kind of cheesy, low-budget B-movie shit and suddenly this movie comes out that's a complete change in direction with this seriousness, and gravitas, and coldness and it's not very inviting. And that's how I feel about The Man Who Sold The World. It was Bowie's 2001 at a time when people weren't used to that or ready for that. There's the darkness and the depth and, of course, there's the beauty. 'After All' is a beautiful song and very tender. It's like the birth of so much really."

"One of my favorite films of all time has got to be Mary Poppins. Well I was old enough to remember it when it came out, but I don’t think I saw it in the cinema, I think I saw it when it eventually came on television. In those days, you had to wait about six or seven years before a film got from the f–king cinemas to the television, and it being Disney, they never actually released their films. It was a very clever policy: They just re-released them every 10 years. I think it’s one of those movies. I was having a very depressing time recently working on a job. I was feeling particularly bad and I put the television on on a Sunday afternoon, and Dick Van Dyke was singing “Chim Chimney” — it just lifted my spirits. Everybody criticized his Cockney accent — and even at the time I probably joined in — and you can criticize his Cockney accent, but you cannot criticize his brilliant comic dancing. It’s f–king wonderful. Oh, it’s wonderful. And the quality of the work: The beauty of that film, the simplicity of it and the way it was made and directed; the charm. The way it appeals to people — it’s the old cliché, you know: Eight or 80. It’s a wonderful piece of work. And it’s magical. It’s one of those films, you know, that you can dip into. If you’re ever feeling low, stick it on and you’ll feel much better. If you haven’t got any illegal drugs, put that on and you’ll be alright. [Laughs]"