"I was aware of Bill Callahan through Smog and that, but I think these latest records that he's done are amazing. They're quite abstract in a way, it's really quite something, the lyrics are really good but the music is also really imaginative and the song structures are quite weird. He definitely doesn't stick to the pop song structure that I was talking about earlier on, but it is melodic, it's not atonal or anything. His records have a natural, very close sound, but it isn't straight folk or anything like that, the instruments are acoustic but then he goes off into these different realms. I think the latest record, that I'm just trying to get my head around at the moment, continues that. He's really thought of it as an album, it's a double and it's split up into four sides, and I know that when he was letting people know about it they released a side at a time, so it's conceived as those four or five songs sitting together as a suite. It's the best record I've heard in ages."

"’She’s Always a Woman’ is a good complement to ‘Something’ I think and lyrically they compare to each other. For me, Billy Joel is hands-down one of the best lyricists of all time. He came up singing in bars and he’s about to have his 100th sold-out show in Madison Square Garden, which I hope to go to! “When I listen to this song I obviously think about the closest women in my life, the people that I respect the most, but especially my Mother. Me and my mom would listen to this song together when I was growing up. It’s one of those songs that I can remember the exact place I was when I first heard it, and it was in the kitchen with her. “Thinking about my mom when I was a kid, she would go through all the different contrasts described in the lyrics - she’d be hot and cold and angry, but then soft. For me, the title lyric reflects how she’ll always be amazing in my eyes. It’s a really respectful but playful song."

"When Peeping Tom was released in 1960 it was savaged by critics who’d seen the film at a special press screening. Those British critics must have been outraged with Michael Powell, whom they had trusted as a director who would reinforce their British identity and value system. That trust must have been completely broken by this scathing indictment of voyeurism and extreme violence. There are many similarities between this and Alfred Hitchcock’s Psycho, released the same year, and Hitchcock shrewdly avoided press screening his film after having seen Powell’s fate just a few months before. Powell’s career was over, with the exception of a few obscure projects, but the culture of slasher films was just beginning. And whether people realized it or not, this was ground zero. Critical reappraisal of Peeping Tom has secured the film where it belongs, in the category of crucially important cinema. Personally, I prefer Powell’s film to Hitchcock’s, but both should be regarded as examples of great horror cinema that demands critical thought and analysis."