"Now I just said I don’t like slasher movies, but this is the exception to that rule — because it’s the exception to horror movies. The Rob Zombie remake of Halloween — that thing is f**king genius. It’s like he violates every rule of horror movie making and makes it work. Most horror movies are atmospheric, they’re really dark or they’re at night and they’re creepy; his is taking place in bright noon sunshine daylight, out in the yard. And the way he goes into the story of the Michael Myers character, you know, the reason why he’s making all these masks. That is a great movie. I guess I also like it because of the outside scenes. You know, when they show people walking down the sidewalk or something — it feels like Autumn. You see leaves skitter across the sidewalk as the wind blows ’em, and you feel Halloween when you’re watching ’em. I remember the first time I saw that was when we were in prison. They’ll show movies on holidays just to take the tension out of the air a little bit — and that was the movie we got to see on Christmas. On Christmas they showed us Halloween. And when it was over — it was Christmas night, about 9 o’clock — as soon as it went off I went into such a deep state of mourning, because it was like my favorite time of year was gone. From the Equinox to Christmas morning, that is like the richest, most velvety, delicious time of year. People always ask me, you know, they would say, “How would you describe heaven — in this perfect atmosphere where everything is exactly how you wanted it, how would it be?” And I say, “It would always be December.” So I realized that time of year was over, it was gone, and I was going to have to wait all the way around the will of the year to get back to Autumn and Halloween again. And seeing it in that movie, I just sat down and started crying when it was over, because I realized I was gonna have to make it through another long, hot, brutal summer, you know — prison guards torturing you, there’s nothing to look forward to. It was a horrible feeling. It feels like there’s a hole in you or something. But I can watch that movie now, and automatically feel that time of year again."

"I think it was Mike [Harding] from Touch who first introduced this to me. He said, 'You'll love it, and it's an unbelievable price' which is quite a killer combination if you like collecting things. I bought it and he's absolutely right. It's a master: there's no ways about it, you're hearing virtuosity, ensemble playing to the highest degree. It knows itself inside-out, which means you get this feeling of how it stretches and breathes. Basically if I'm wanting to listen to something from it I close my eyes, fumble around and take one of the six discs out so it's a surprise. Otherwise you can find something for the morning, a raga, blah blah blah. But these are just the most extraordinary devotional love songs. It's from a tradition which has been going on for a very very long time. It's not a part-time job at all; these are people who are dedicated. It's fantastic. I think it's truly inspiring in the sense that it's through listening to that that I've come upon solutions to things that I've been working on myself. It's the peculiar thing: you wake up in the morning having gone to bed with a problem or you're working on something that you don't quite know what the solution to is, and when that marvellous thing happens that all the work gets done in your sleep, it's just the very best. I had an example of that happening with this record. When Dietmar Post and Lucia Palacios were making the Transatlantic Feedback film about The Monks, in order to get the editing done they asked people if they would contribute a cover version of a Monks track. From the proceeds of that they were able to finish the editing. I was working with a Swedish friend of mine who'd introduced me to The Monks so much later than everybody else. I said he had to choose the song, and he picked 'Oh, How To Do Now'. I listened to it over and over so it got into my head and my conclusion was that we certainly can't do it like that, because the narrator of the song is obviously a young man who has extremely sexual feelings for a young lady and I thought it'd be highly inappropriate for us to pursue that angle. How do you get an in? I woke up the next morning and thought, 'I know what to do'. I rewrote their text and took the emotion down, made it more devotional and I thought, 'Ah, that's it, it's like Ali Khan'; you change it into that, so in fact it has one phrase that's basically stretched over half the song, and the other part fell into place. It's either the love or the devotion but also the sense of melody, really stretching out lines. That's an example of it being inspiring and useful."