"I saw this for the first time at CalArts [and] since then I’ve become a big fan of all Preston Sturges films. Again, I [had] already chosen what I wanted to do for a living but [this] story touched me so deeply. Here’s a guy who makes comedies during the Depression and he’s so isolated in Hollywood [that] he sets out to learn what’s going on with people. He becomes a hobo. And he ends up way in the South and [is] put into this work prison. And everyone in Hollywood believes that he’s dead, that a hobo stole his coat and was killed by a train. And so he’s there and [he can’t] get word back that he’s still alive. It’s a horrible situation. For Christmas Eve, at the depth of his misery, a black church in the segregated South invites all the prisoners out. And they sit there and what they watch is a Pluto cartoon. It’s the famous scene of Pluto getting the flypaper stuck on him and he can’t get it off. And [the audience] starts howling with laughter. Howling with laughter. People who you wouldn’t think would still have laughter in their bodies. And Sullivan came out of this and gets back to Hollywood and everyone’s like, “Oh, you had this horrible situation, you must make a great drama.” And he goes, “No, I’m going to make a comedy. Because that’s what the world needs.”"

"We’re back to opera, we haven’t left it — because Magnolia. If you think about the moment Keanu wakes up as a battery, the moment Lana Turner loses it in traffic and is in this insane hysteria of flashing lights that is completely unrealistic, and then you look at the moment where it’s raining frogs. I saw it, and was like, “Is this going to be one of those movies that I don’t like where he looks down on every one?” I think Alexander Payne and Todd Solondz are super talented, but sometimes I don’t want to sit through their movies because the bile is just unbearable. I didn’t really know PT Anderson’s work that well, or what was going to happen. And then, it turns out he loves people so hard that it rains frogs. There is actual opera in this one. Oh, and BT-dubs, there is a musical number. The license and the observation and the amount that he went for it. The craft and his ability to sustain that much — any one of these movies could have fallen into a puddle of pretension, but the mastery behind them meant that they never could. Jason Robards, who happens to be in two of the movies on this list, him actually dying of actual cancer playing a guy dying of cancer, giving that speech. And Tom Cruise giving the best performance he’ll ever give. It just felt so achingly, weirdly logical to me."

"The last one is Pulp Fiction. Me and my, as he was then, I suppose, eight-year-old, nine-year-old son, thought it was great. I just loved, again, the way [Quentin Tarantino] used time, the way he moved backwards and forwards in time, which I thought was sort of groundbreaking, although it may not have been. But I thought it was. And I saw the energy and the vigor of it all, and just the images of it. I just love that film. I watch it now and again, as it were, and it never palls for me at all, but I just thought he kind of invented a way, or kind of storytelling technique, which is sort of second nature to us all now, but again, that nonlinear business — for me, it was a revelation. I’m sure there have been other films like it, but this seemed to work so well within a very contemporary, very fast-moving, very original piece. To have the courage to play with the structure, and tell things backwards and forwards and all that sort of thing, I thought, was not just cute, or just showmanship. It actually enhanced the drama, trying to figure out where you were and what was going on. I found that a very creative effort, and so did my son, which thrilled me. He wasn’t fazed by it at all."

"It’s one of the great ’50s melodramas, and it’s kind of like a musical without the music, but it has a great score, of course. I saw it in my early- to mid-20s, and it just really affected me. It’s about a guy who goes back to his hometown where his brother is a prominent citizen. He’s a stalled-out, blocked writer, and he’s been a soldier, and a worker, and a would-be novelist, and he’s kind of a gambler and a drinker — this is Sinatra, of course, the conflicted one — and he lives in two worlds. Because he’s a published writer, he has the respect of the local English teacher and her brother — the respectable world of literature — but he really has a soft spot for bars and gambling and floozies and the Shirley MacLaine character. And then you’ve got Gwen French, who’s played by Martha Hyer, who’s the uptight school teacher. So it’s all these opposites colliding — respectability, debauchery… It’s wonderfully melodramatic and beautifully made… It’s about male friendship too. I consider it kind of the first Rat Pack movie, although it’s just Dean and Frank with Shirley around too. It doesn’t have a lot of the other people, but it’s the first one to capture these guys gambling and hanging out and that camaraderie. They become roommates and go on, like, a trip to Terre Haute, IN, to go gambling. It’s just wonderful."

"Raising Arizona. It’s definitely in the top five. I remember seeing that movie as a VHS rental when I was, I think, 12 years old. I’d just had an operation, and I was recovering at home, and my mom just went and got a bunch of movies, and that was one that I could not… I couldn’t even comprehend it the first time I saw it. It was so weird. It was so beautifully weird. At least from my perspective, I had never seen a comedy toned quite like that before, and I just loved it, and I couldn’t get enough of it, and I wound up just watching it over and over again. It wasn’t just funny writing, it was funny looking. The acting is incredible, and the casting, the production design, the cinematography, the score… Carter Burwell, he wrote this haunting score that’s based on an old traditional tune, “Down in the Willow Garden”, which is this kind of haunting river ballad, and it’s the musical motif through the whole thing. It even plays during the diaper robbery scene in the convenience store. There’s like a Muzak version of that playing, and I caught all those little things. I was blown away by the specificity and the choices, and it was one of many movies that I kind of point to as being a moment that, for me, kind of stood out as, “Oh, this is what I want to do with my life.”"

"He was working with a lot of the young rappers, like Easy Mo Bee. They were laying down hip-hop drums and a few chords and apparently Miles would just improvise over the top and they'd add the vocals. That's a fabulous record, primarily because Miles sounds like he's really enjoying himself. He's more inventive on that album. He's getting more involved than on some of the albums that came before that. I saw him play live at the Hammersmith Odeon in the early 1980s and all he was doing was orchestrating. He'd stand up and play a little riff and then point at the drummer, who'd do a 15-minute solo. He was wearing a baseball hat on and was bent down and you couldn't see his face. Another one-minute solo, then point to the guitar player. The show went a bit like that. But everything he did play was well worth the entrance price. He plays great on Doo Bop. It was his last album. He was doing painting at the time, but he was really into working with these young guys and they were in awe of him. This was their dedication to him. The lyrics are all about how brilliant he is. Miles rose to the occasion and showed his chops. Every note is perfect. I've grown into jazz over the years, but it took me a bit of time to appreciate it."

"Bernardo Bertolucci’s 1900 is one of my favorites. It’s epic — when I saw it at a film festival, they literally had an intermission where they served pasta and red wine. It was wonderful. It’s a thin, handsome Gérard Depardieu in the prime of his youth, and Robert De Niro doing a great aging character, the rich boy. Depardieu [as] the poor boy. Probably one of the greatest entrances in the history of cinema for the beautiful actress Dominique Sanda. And Bertolucci uses this town, this little village — and you see it go from the turn of the century to WWII, and it changes with the seasons, and the time. And one of the best villains ever, Donald Sutherland, as this sort of grand guignol, a fascista, brown shirt — you know, black shirt — that is corrupted by the Mussolini movement in Italy. And he just completely surprises you with his performance. It’s really wonderful and kinky, and strange and beautiful. And the music is extraordinary. Yeah, it’s really a great film — a long movie, but a great movie — and it really left an indelible stamp on my brain. All these movies in my top five are what I call “desert island” movies. These are films that I can see again and again, and they have sequences or images in them, or they’ve left such a film memory in my imagination — such a stamp on my memory and imagination — that I can see them again and again."

"This was another sonic influence on the record - the saxophone, the guitar. If you’re painting a picture it’s like 'What colours do you want?' Every instrument is a colour and with this we’re only using a few different colours. It's in how it sounds and how it feels to listen to, it's not necessarily about the actual instruments, it's about what it visually feels like. “Yoko’s record was produced by Phil Spector and on Oh My God the subject matter is a little absurd and it's fun to be sort of playful with it. Back to the cinematic thing, it exists in this big, bombastic universe and mimics the Phil Spector sound. “I just read the Jeff Tweedy book and I really related to him saying that basically his whole life and everything he does is essentially influenced by two different records. One's a record of just train sounds like cabooses, it's not music, it's just train sounds. The other one, I forgot, I think it's Johnny Cash or something. ""Yoko used the heartbeat of her unborn baby on a song she made with John Lennon and I really relate to that; I'm really into the atmosphere of songs and how everything in the world can be its own music. I saw a quote from Neko Case recently where she said 'When you're an artist and work for yourself, your job never ends!"