"You know, I would pick Jim Cameron’s picture, Avatar, as a fifth. It’s the only new picture, I think, that can be up there in that group. Jim Cameron, one of our graduates — who started making low-budget science fiction pictures for us — went and jumped ahead and here’s Avatar, the most expensive science fiction picture ever made. Jim’s a technical genius, and the fact that he single-handedly brought back 3D — which had been up there, in and out a few times; in the ’50s and then forgotten — and he used it beautifully and sensitively. So many times when a director’s working with 3D you have the shot of the arrow coming out of the screen, shooting straight at the audience, and effects like that; he deliberately stayed away from that type of effect and just showed you the 3D world. And the use of computer graphics, green screen, motion capture and so forth for the blue-skinned people on the planet — I just thought it all came together as a brilliant film, both technically, in the way he used 3D, and in the beauty of the picture itself."

"I would go back to Buster Keaton’s The General. The accomplishment of that movie in those days, you know… First of all, Buster Keaton as an actor — and as a comedian — but as an actor really, was… again, I think the word “sublime” comes across, because of that sort of deadpan quality that he had. When he was still, you felt as though his feet had roots, and they were sort of embedded and grounded into the ground. And, you know, a hurricane could come and it would never push him over. So that sense of stillness that he had, that had this kind of emotional weight inside of it, created juxtaposition to the stuff that he would do. Even if he was moving around, there was always a sense of a “man against the world” kind of thing that was always very compelling. But that movie, what he did with that movie, with that train, and the kind of stunts he was doing on his own, and just running around… I mean, just the accomplishment of that movie from a technical standpoint in those days was quite something. So that’s my list as of today."

"This reminds me of recording at Sawmills Studios at Fowey in Cornwall. It was a really beautiful environment and, thanks to the estuary, you had to come over by boat, loading the gear on depending on whether the tide was in. Then once you arrived it was this cut-off, really beautiful house. It felt like a holiday camp. Those first days in the studio were so exciting, we almost couldn’t contain ourselves. We were desperate to get in and start setting stuff up. We’d done a lot of four-track demos in the living room of the cottages so we kind of knew what we were doing but it was a very free time. I remember Danny and I being in the main living area there and getting really hooked on Either/Or. I think it was his almost Beatles-like sensibility in terms of his melodies and song structure. The technical side of things always interests me and I saw him doing similar things: finding a way to play four chords in a slightly odd way. His stuff wouldn’t always land on the chord that you expect, which was cool and very inspiring."