"Then I got into film school at the age of 17. Because I was young, the day I turned 18 my mother wanted me to see [Pier Paolo] Pasolini’s Salò. She said now you are old enough to see a precise portrayal of human cruelty. Maybe because my parents escaped Argentina during the dictatorship to avoid ending up in a torture camp like their friends ended up, she had a particular concern about the portrayal of human cruelty and torture. So she said, “You want to know how bad life can turn? Come with me and see this film.” And I saw it. And I know that movie stuck to my mind for, like, 12 years in a very precise, shocking way. And I never felt, for 12 years, the need to re-watch it. I said it was great to see it, but I was not ready to admit the perception of how bad people can be. It’s those very hot and cold — how do you say the people who study insects? -– entomologists. Sometimes you feel almost like an entomologist describing the life of ants. But the vision is sharp. The lesson is sharp. And also what I like about the movie is that, although the movie is about masters and victims, Pasolini — he’s not on the side of any. He’s just — like a dark situation, sharing the pain of one, or the dark joy, or the dirty joy, I don’t know. It’s almost like they’re above the character that they’re describing and they don’t identify with any particular one. You can also have that in The Battle of Algiers. But in any case, at 18, that’s a very major movie. I think nowadays that’s one of the very major movies in the future of cinema. It’s something strong that has not been copied in any way since. And that’s why, in my movie, I wanted to put Pasolini’s Salò poster above the bed, just to remind me that whatever I will do, my movie cannot shock, because of some people before us who made these extremely daring movies that really shocked their time. When people tell me I’m provocative I know that I’m not at all, compared to these masters of cinema."

"This is a project from Ben Wallers and Alastair Mackinven from Country Teasers. We moved in similar circles in the mid-90s. I saw them do the whole of this at the Moth Club earlier this year. You could think 'oh what a funny idea to cover the whole of Pink Floyd's The Wall', but they actually did it really well. I used to be a Pink Floyd fan, and one of the first albums I bought was Dark Side Of The Moon, but The Wall is where I parted company with them, I thought it was just a self-indulgent mess. So I was amazed to go and see that they'd actually made it palatable, they'd done something interesting with it. I know it's not coming from a take the piss point of view, Ben's got an actual affection for that record, and they'd really thought it out. The Wall is one of the most indulgent, over-produced records ever done, and so the idea of two guys on a stage at the Moth Club doing it is like 'how the fuck are you going to do that? Where's the choir, where's all this?' But it worked, it was really good. I preferred their version of The Wall to the Floyd one. I remember going to see the film version of The Wall, and Bob Geldof played the main character, and it was so rubbish and painful, the worst kind of that rock star moaning about nothing in particular. There's something in that record to do with a performer's relationship with an audience that's interesting - there is something strange about getting up on a stage and performing in front of people. In Ben's live performances as The Country Teasers or The Rebel, sometimes people think he's trying to wind the audience up or whatever, but it's always important that the audience is there and you're never allowed to be a passive spectator. I don't know if that's why he finds [this album] an interesting thing to deal with, but you could tell that there's a reason for it, it wasn't just 'let's try and do something ridiculous'. "