"It’s this old Hollywood musical variety show type of thing. Really epic Technicolor. There’s an Esther Williams thing in there where she’s just swimming and being beautiful. It’s a beauty-based film. All the money wasn’t popped into special effects, obviously. It was popped into building really grand sets, really great costumes, really, really good makeup. Like, whatever. I saw that in college. One of my friends showed it to me in his apartment. I was like, “What the f— is this?” And then I bought the DVD and [now] I toss it in once a month, at least in the background. I don’t really actually follow the movie straight through. I just kinda fast-forward to the parts that look cool."

"I’ll never forget when I saw Jaws in the theater, the impact it had on me — so much that I wouldn’t swim in a swimming pool for the rest of the summer. [Laughs] And I enjoyed so much hearing later how Spielberg had had a hard time working with the shark, so they had decided to not show the shark, and instead use the music, you know. The way they did that was just incredible; the way they would shoot so that you’d see just the shark’s point of view instead of seeing the shark itself. It taught me, as a feature filmmaker, how important music is and involving all your senses and all that. So that’s my all-time favorite movie — Jaws."

"Number four would be the Creature from the Black Lagoon. That one, of course, was split up; two actors played him. Ricou Browning was the Gill-man in the water, and Ben Chapman was the Gill-man out of the water, on the land. The most memorable imagery for me would be Ricou in those underwater sequences, when he’s swimming underneath Julie Adams. She’s innocently having a swim in her little white bathing suit, like “la la la,” having no idea that this thing is lurking underneath her. But that underwater performance of his has channeled its way into my own creatures. I’ve played two fish-men now in my career, so I think that the Creature from the Black Lagoon actually left a huge thumbprint on me from that."

" The ten-year, ten-album career of Felt divides neatly in halves: with rococo lead guitarist Maurice Deebank and without. This is his last album with the band, and the first with equally hyperactive organist Martin Duffy (probably not a coincidence). The effect is like Yes if Steve Howe and Rick Wakeman just kept soloing, under and over the vocals and each other. And, the album is produced by Cocteau Twin Robin Guthrie, who flanges almost everything, hard, almost all the time. The centerpiece is the inscrutable and euphoric 'Primitive Painters'; on it there are two lead vocals (generally undecipherable), an ever-soloing guitarist, a usually soloing organist, all swimming in flangers, and then the bassist starts soloing too, and it's probably the best pop single of the 80s."