"Sometimes my biggest reasons for connecting to a film are simple, primitive, just about a feeling. Videodrome and Repo Man are two that fit into that category. In addition to the fact that it costars Debbie Harry in my favorite roll of hers, I love Videodrome for its particular use of my hometown, Toronto. Sure, Toronto is used in films all the time, but usually disguised as New York, or Chicago or Detroit. No filmmaker has used Toronto better and more consistently over the years than our hometown hero Cronenberg, though, and Videodrome he shot and set in the downtown Toronto of my childhood, complete with a central part of the story revolving around our local cable station CityTV (as “Civic TV,” the station James Woods’s character, Max Renn, works for), which really did play soft-core porn if you stayed up late enough. To this day, my dad lives on the street Max Renn lives on, and Barry Convex’s Spectacular Optical is a bakery on the same street as the Electric Youth studio downtown, just a minute away, making the connection both past and present. Repo Man has my favorite Criterion release cover art; it’s amazing and designed by movie poster artist Jay Shaw, who also designed the artwork for singles from our album Innerworld. With Repo Man you get Harry Dean Stanton in his first big-screen lead role, Emilio Estevez as his partner, and the streets of Reagan-era Los Angeles set to a classic punk soundtrack. What more would I need to love this film? Nothing. But like with all great Criterion selections, there’s always something new to take from it with every watch."

"Sometimes my biggest reasons for connecting to a film are simple, primitive, just about a feeling. Videodrome and Repo Man are two that fit into that category. In addition to the fact that it costars Debbie Harry in my favorite roll of hers, I love Videodrome for its particular use of my hometown, Toronto. Sure, Toronto is used in films all the time, but usually disguised as New York, or Chicago or Detroit. No filmmaker has used Toronto better and more consistently over the years than our hometown hero Cronenberg, though, and Videodrome he shot and set in the downtown Toronto of my childhood, complete with a central part of the story revolving around our local cable station CityTV (as “Civic TV,” the station James Woods’s character, Max Renn, works for), which really did play soft-core porn if you stayed up late enough. To this day, my dad lives on the street Max Renn lives on, and Barry Convex’s Spectacular Optical is a bakery on the same street as the Electric Youth studio downtown, just a minute away, making the connection both past and present. Repo Man has my favorite Criterion release cover art; it’s amazing and designed by movie poster artist Jay Shaw, who also designed the artwork for singles from our album Innerworld. With Repo Man you get Harry Dean Stanton in his first big-screen lead role, Emilio Estevez as his partner, and the streets of Reagan-era Los Angeles set to a classic punk soundtrack. What more would I need to love this film? Nothing. But like with all great Criterion selections, there’s always something new to take from it with every watch."

"First one on my list is Do the Right Thing. Spike Lee, man. I actually saw that twenty times in the theaters. That’s before VCRs; I mean, that was like right when the VCRs were kind of happening, and you had to wait a year for something to come out on VHS. It wasn’t the quick turnaround like we have right now. But Do the Right Thing changed my life in so many ways, because I had never seen… it was a movie that was comedic, yet so powerful. I didn’t really have a definition, because I’d never seen black people on screen like that, and it was just one of those things. It was my era; it was my generation. There was a lot of blaxploitation before that, you know, and you could see people on TV, and all this stuff. But I remember I was in college, and it was kind of like this empowerment. Spike had made She’s Gotta Have It, but then Do the Right Thing really broke it down. It changed my life. It made me want to get into the business like never before. Totally. I was like, I am a Spike Lee nut; I want to do this. I thought it should have won Best Picture that year; it just meant so much. It just meant a lot to everybody. There was a lot of race relations stuff, and just think of the stars that came out of that: Sam Jackson, Martin Lawrence, and Spike himself, and Rosie Perez, and John Turturro. I mean, it’s just… Whew! It just changed the game, changed the game."

"Growing up in America in the late ‘60s and early ‘70s every Sunday evening there was The Walt Disney Hour on TV and before they played whatever Walt Disney movie or animation that was on, they would always begin with ‘When You Wish Upon a Star.’ This was probably the first embedding of music into your DNA outside of something that your parents might listen to on the radio, this was something that was wholly your own, because this was children’s music. “Your parents would plop you down in front of the television set on a Sunday night and this was your hour of music basically, so for myself, Grasshopper and a number of other people this otherworldly song was really the first music that informed you. Whatever music was to come in your life, this was the first information that was literally downloaded into your bloodstream. “Early on in Mercury Rev we were using feedback and Grasshopper was using guitar elements, because we’d yet to learn how to score orchestrally ourselves, we were just too young. Yerself is Steam was our early attempt at orchestrating but we were using feedback and noise and basically any note we could grab on the fretboard or the piano, because we weren’t really accomplished rock musicians. Like everyone, when you begin you sort of fumble around. “The idea of the layering and the dynamics that are in some of those very early Disney movies, such as Fantasia or Pinocchio was definitely in our consciousness. It was definitely one of the few things we could lean on as teenagers."