"I’m a fan of Ed Norton. He had quite an amazing double act this year with Birdman and The Grand Budapest Hotel. I remember I read the script of Birdman at one point and I thought it was brilliant, but then when I saw his performance… I mean, it’s wonderful when you’ve read something and when you then see the performance, you go, “There’s no way anyone else could have done that but Ed Norton.” I thought he was very, very good.What I love about Birdman is that most movies — when I see movies and television shows — dramatic things happen, and then people act dramatically, and sometimes you go, “Would you really do that?” Horrible things happen all our lives; we all experience loss and death and trauma. Usually, most people, I think, we just get on with it. We don’t have a whole soliloquy in the middle of something. [laughs] You just deal with life, right? But then when you see Birdman, one of the places where it actually works is in the theater, because people are so dramatic. That’s just the way it is. So it was very true in that movie. Of course, on a technical level, that movie was just insane."

"With Neil Young, it’s all down to his songs. At least half of his songs really turn me on. Even the ones that don’t as much are still really damn good. It’s about getting onto the right wavelength. On this record, when I first heard it, I thought: ‘Ah, this is the big Neil Young, Dead Man soundtrack thing’. I love that sound but initially I was only tuned in to the shallower aspects of it. But after a while I started to really get the poignancy and the emotional voice that cuts through and thought: ‘Oh! I really love these songs.” I really respect what he’s trying to say. They’re beautiful songs. Sometimes Neil Young has a real ability to say something – to give a song an emotional stroke, to say ‘I love you’ or ‘I’m sorry’ or ‘I don’t understand’, to express a human frailty. These older guys – Leonard Cohen, Tom Waits, Neil Young – when they make a good record as an older guy, they say shit. They might rhyme ‘moon with spoon in june’ but they do it with such heaviness, charm and humour. They drop these one liners that are like ‘Woah! That can only come from a guy who has been around the block 50 times.'"

"The Eagles are fucking bad ass. I've always been a fan of multiple voices in bands and the Eagles are another example of that. Classy musicians who fucking earned their bones through backing up other musicians. I love that documentary that they did ‘The History Of The Eagles’: the drugs, the fights, the stardom, that's just fascinating. I always really admired that band for its uniqueness and the quality of the records they made, the songwriting, the musicianship. This album and that particular track... it's like bigger than they are. Even though that's them. I mean, sometimes musicians, the song and the actual thing that gets recorded at the production, all three of those things line up at the right time and you get that magical thing, bigger than any one of you, even all of you together... it just goes a little step above. It's the whole thing: music is not about perfection, the closest you're gonna get to reaching perfection is the pursuit of trying to get there, I guess. But every once in a while, there's one song or an album that just kind of poke out, that just goes above the ceiling. That title track does that. It's a very magical song."