"This is the best film title in the world, and I wish so much that I had come up with it myself. It’s a completely absurd film. Buñuel dares to make a movie about this group of people who want to but never manage to eat dinner. There’s a moment when a hand comes up and tries to grab a piece of food off the table. He has no respect for the audience at all, and that of course makes him very interesting. I also like the way he dealt with his public persona. He was very free, and he was playing around in a way that gave him distance from the whole circus. When he was nominated for an Oscar for The Discreet Charm, a journalist asked him how he thought it was going to go, and Buñuel said he would win because his producer had bought the Oscar. And then he actually won and in his award speech he said that you can say whatever you want about Americans, but at least they stand by their word."

"I don't know how I came across that album to be honest. But again, some of the lyrics, oooh! Have you seen them live? Brilliant. Fucking brililant. Like a punk rock & roll trio with stand up piano, bass and drums. When we saw them, it was Shepherd's Bush and I wasn't expecting it to be so full on. But the way they create what they do on stage and live – it's almost like three jazz kids who ended up writing quirky pop songs. Their drummer is phenomenal, they all were. The bass player uses distortion at times and Ben bangs the hell out of the piano. I remember that gig really well. Remember when Matt Lucas had the character George Dawes? He was in the audience at that gig. And everybody in the room knew he was there. Everyone was locked into him and someone shouted out 'Tell us the scores George Dawes' and I felt really sorry for him! But it was just a really amazing gig and it's a great record. Rough but brilliant."

"This is a compilation of Zakir playing different concerts, and it blew my mind when I was 16. Its one of the albums I've listened to 1000 times. It's bizarre that that would be something I'd listen to so many times, because it's so sparse - there's only the tabla and occasionally one other instrument, but never more than two at any one time. I once got to see him play with John McLaughlin, they really opened up my whole understanding of rhythm. I felt like my brain was getting bigger, it felt like I was learning about music. It's probably the most sophisticated rhythm I've heard from any country at any time, but it's not show-offy and designed to impress you technically. It has so much soul, it's such passionate music. Some people can't stand listening to it, but it's one of those albums that I could be in a terrible state but still happy to hear it. It relaxes me. That album really opened me up to listening to Ali Farka Touré, Indian classical musicians and so much more."