"Every aspect of the movie is excellent. There isn’t one wrong move — from the script, to the acting, to the music. It’s such a beautiful human story about an individual struggle set against the corrupt unions screwing over the dock workers. So, you have this social background for the situation, and then you have the personal human journey of the brother of one of these union mobsters, who has to sort of turn on his own people. Marlon Brando pretty much rocked the cinema with this new style of acting, and you can never go back to Cary Grant. As wonderful as Cary Grant is, Marlon Brando changed the game. Karl Malden has one of the greatest movie monologues of all time as the priest in the docks, encouraging everyone to take a stand. He was like the first Norma Rae. I have the soundtrack on my iPod. I love great movie soundtracks, and I consider that one of those."

"This has some of the really beautiful ambient stuff that he's known for on his earlier records, and I'm a big fan of that, but there's also some really interesting beats on it. I think for someone who's been in the game for as long as he has to still be making music and beats that are unorthodox and matching that with music that's still serene, that makes for a very dynamic record. Of course, we'd love to work with Eno one day. Some of these tracks were rejected from a film score, and I love to put on visuals when I'm making music. I collect old films, from the turn of the century or the 60s or whatever, I'll put one up on a monitor and start writing, to me that's one of the most fun ways of making music. One day I hope to utilise that talent in some way and work on making soundtracks."

"Since I love Quentin Tarantino, I went with Jackie Brown – that’s my favorite Quentin Tarantino film. I could go on and on about why Tarantino is a master of dialogue and writing — I mean I love The Hateful Eight; I think that’s sort of genius of him as a director — but Jackie Brown is such a perfectly contained piece. It’s exciting but also has these perfectly human moments where characters are talking about growing older, and they ally themselves in this plot not because of… I mean there is gain financially and there is gain for personal reasons, but there is also this sort of camaraderie that’s born. It’s also incredibly clever and funny. I just love that. I love the soundtrack as well. You can’t love a Tarantino film and not love the soundtrack. I’m not gonna lie, I’ve strutted down New York City streets to Quentin Tarantino soundtracks! That’s for real. But I mean Jackie Brown is amazing, centered, and [has] these unexpected characters. Samuel Jackson gives the performance of a lifetime."

"John Barry is probably my number one, I got him to play Meltdown when I did that. I was trying to get him to play more obscure stuff from his catalogue but he wasn't into it at that point in his life. I like this album because you've got his soundtrack stuff and then you've got songs like 'Old Man Willow' that sound like Broadcast. Soundtracks don't always work as albums because they tend to repeat the theme so much that they're not that exciting to listen to, but this one doesn't do that. I think there's one song I'm not that bothered of, 'He Quit Me' at the end of side one, but it just works as an album. There was a record shop in Sheffield called Rare & Racey that only closed down a couple of years ago, you could get pretty cheap second hand records and I picked this up there and played it to death. It probably did have an influence on Pulp, I really liked the sound of it. It's not so much on this record but he used a dulcimer on The Ipcress Files soundtrack, and that definitely influenced the Pulp song 'I Spy', there was a definite attempt to make it sound like that in the background. "

"I could have chosen a number of his ambient records, from Apollo – Atmosphere & Soundtracks or Ambient 1 (Music For Airports) to Discreet Music. He, along with maybe one or two others, invented ambient music, which is now the background to a lot of different music, but back then was a revolution. Eno was slagged by the press at every turn. I remember a quote in the NME saying his music was like ""watching paint dry"". If something got that bad a review, I had to check it out and Brian got the worst reviews for a number of years. Discreet Music was the record that I listened to when it came out and I am still listening to it now. Strangely enough, I find it the most incredible music to make love to, because its stillness strips you down to a nakedness that, for me, lovemaking always demands. That's opposed to drunken lovemaking, which is a completely different thing and only part of what is on offer. Discreet Music puts me in the mood to really find out who I am and to be vulnerable with another person. Therefore, it has become one of my favourite lovemaking albums, and I don't think many people could say that."