"I also love Elia Kazan and it was a toss up for me between On the Waterfront, which I saw as a child, and East of Eden, which I saw as a young kid, and also rediscovered as an adult. But I do remember more recently a beautiful print that was struck — maybe by UCLA archives, maybe by AFI; I’m not sure who — and they had a screening of it at a theater that’s the longer one there in Century City, beautiful theater. At one time I think it was the state of the art theater in the country, with the first reclining seats and all that. They had [screened it] somehow, in conjunction with the LA city school system and the English department of LA city schools. And I believe that the matinee that I saw was predominantly schools… And the kids have to read East of Eden or Steinbeck, Travels with Charley or something in school, and you could tell this was going to be their Steinbeck assignment, so it was a field trip. But this… wasn’t a movie for young people, and I was a little worried that the noise, the kicking of the seats, and the high jinx that were prevailing in the auditorium before the lights went down would keep going. And I remember about five minutes into the film there’s a shot of James Dean hopping a freight — he jumps this train, near Monterey and he goes to Salinas, or vice versa — he hops the train and is on his way to Monterey to visit his mother, to find his mother in a brothel. And it’s cold, it’s evening — he pulls his little sweater over his head like a hoodie and he bundles up almost in a fetal position on the top of this train, snaking it’s way through the country side in Monterey county. And the entire audience shut up and you could hear a pin drop. It was the power of a true movie star. It was the first American teenager, James Dean, on the screen. And it didn’t matter that it was a predominantly… junior high school to high school kids — they got it. They got his angst, they got his beauty, they got his rebellion, all in literally 30 seconds’ worth of him exuding teen angst in the film and it was just this great moment. It reminded me of the power of stardom, of light and shadow on the screen, of a Greta Garbo, of a great screen kiss between — God rest her soul — the late Maureen O’Hara and John Wayne in The Quiet Man, or John Travolta strutting down the sidewalk in Saturday Night Fever— it’s just this great thing. And I love that movie anyway. There’s sequences and scenes in that movie, and James Dean, his grace in that movie — I think his movement in that movie is only matched by one or two Lee Marvin performances, and maybe one or two Sean Connery performances that I’ve seen in terms of just male physical grace. Really a great film, and I had to put Kazan on my list. So Kazan would be my number five for East of Eden starring James Dean."

"I went to see Blade Runner when it came out in the cinema; for me it was the perfect melding of sound and vision and a kind of dystopian future that seemed quite compelling. Almost a place you'd like to live in, because of the idea of replicants and who is human, and WHAT is human? Also, the beauty of Harrison Ford. Him and - whatsername - Sean Young, she was styled to perfection. Ridley Scott, although he reckoned it was a torturous film to make - the budget got cut and all kinds of jiggery pokery went on backstage - the one enduring thing, for me, is the soundtrack. Bizarrely, the soundtrack album didn't come out until years and years and years afterwards [1994], but you could get the film on VHS and everything. In 1990, I got summoned to work with Vangelis in Paris, and we wrote the title track on my album. One of the first things I asked was, ""Can I have a copy of the soundtrack?"" We recorded 'Europa' in Studio Omega on the edge of the Bois de Boulogne, which was originally earmarked for Hitler's occupation should things go pear-shaped during the Second World War. The Bois de Boulogne is where all the transvestites and transsexuals would come out at night. It was quite an atmospheric place to work. At the end of the weekend they gave me a tape of the track we'd recorded, and a metal cassette of the Blade Runner soundtrack that I've still got today. It's a real treasured item. I remember reading And Suddenly There Came A Bang!, where it talks about Blade Runner, Harrison Ford and also Mel Gibson in Mad Max 2, and I remember seeing it soon after and thinking, ""Oooh. Yes."" That was mindblowing. It was kind of a blueprint for the early look of Frankie for me. That whole cyberpunk and S&M... The baddies were more attractive than the goodies, obviously, and Max himself was somewhere in between the both, neither good nor bad - just out for himself. Another soundtrack I think needs mentioning is Midnight Express by Giorgio Moroder. which is also on a par, I think. Although it's more disco - especially 'Chase' - Vangelis and Moroder to me were icons of electronic music in the '70s and '80s. Although I think Vangelis had the edge with atmosphere."