"I got into him a long time ago; again, around the time I was going to university. I think I had a collection that came out around then called Way To Blue. I remember really liking it but perhaps I was too young for it at the time. It wasn’t until a few years later that I went back to it and they’re all just genius. There’s not a bad song on any of those records but I particularly got into the story of him. It’s so sad, you just want to go back in time and try and change it. It must have been so frustrating for him to craft these... I don’t think anyone sounds like Nick Drake and I get furious when people say he’s a kind of folk musician because I just think that’s bullshit. [laughs] Well, maybe it’s not bullshit because he comes from a tradition of songs that have a kind of folk influence in the way that they’re played, and the use of the natural world with stories removed from modern society, I suppose that’s kind of folksy, but for me it’s a bit more, dare I say, a bit more special than that."

"This song was a whole other cool factor for me. There was something so cool about it - the sound of it, the synthesiser and what he was singing about. It made such an impression on me, and I’m in love with Benjamin Orr’s vocal performance, it’s incredible. “A lot of these songs are based on vocal performances and guys that I idolise as having a vocal quality, but I also loved the guitar solo. It was the first solo I ever learned to play and it’s a pretty bitchin’, advanced, badass solo. It’s one of the best, so I was pretty stoked about it, but don’t ask me to play it today! I also learnt a bunch of Squeeze solos, Glenn Tilbrook and Chris Difford are two more of my favourites and the solo on ""Pulling Mussels (from the Shell)” is unbelievable. “With “Just What I Needed” it’s the solo because I’m a guitar player, the sound of it because I’m an engineer and producer and the lyrics because I’m a songwriter. People who aren’t musicians might be surprised by these songs, but they’ve had a big effect on me. I picked these songs based on being pivotal and this was one of those songs for many reasons. I’m still trying to write that song."

"It was his first great album. All of his early albums have their own sound, and the atmosphere and some kind of other-worldly quality is what first grabbed me. Hunky Dory was where his lyrics got much better. The songs sound very simple, but in terms of the chords they are really complex. ‘Changes’ has got lots of weird things going on but it never sounds muso. It’s his first classic album. What are the standout tracks? It’s easier to say the ones that aren’t. Every day of my life I sing them. ‘Kooks’, ‘Changes’ and ‘Bewlay Brothers’ are my favourites. I like ‘Andy Warhol’ and ‘Queen Bitch’, but I think those are the two that don’t stack up as much. Charisma goes a long way – so people have told me anyway. Even now he doesn’t overdo it. I saw it in a shop in Norris Green, and I used to stare at it for ages, it wasn’t a sexual thing, but I couldn’t stop being lost in the world of his music. It was spiritual, there was nothing else I thought about. It was Bowie was who got me interested in music, then I got into the Velvets and Iggy."

"Jason and the Argonauts is the very first movie that I ever remember watching. My parents were living in New York and I was a very young kid. And I remember being in front of my TV all alone watching skeletons fighting with swords. For me it was magic. I guess the emotion was so strong that the memory of the room and the TV still piques my mind because maybe at that age you don’t really know what a skeleton is. But watching skeletons fighting was like, “Wooh-wooh, what the f— is this?” And I have a memory of that movie that sticks in my mind of the giant — there’s a boat that goes through the legs of a big giant. I have a lot of respect for those movies, like the old King Kong, which create a grand world with the tricks. I’ve always been respectful to all the people who do visual effects and special effects, because making movies is also making magic. You can also admire a man who pretends to cut a woman to pieces in a theater because he makes these images of horror that, again, don’t hurt. That was my very first memory of this film. And I was always going to see movies since then."

"I’m sure a lot of people say this one. As a kid, the toys, the action figures, being able to watch the three movies, and being able to watch them over and over, and then so many years later, they came out with the new ones. And now they going to make more. It was a big movie growing up. As a kid, again, the toys — I go back and watch some of those old commercials for [putting on his announcer voice] “The Millennium Falcon!” it just gives me goosebumps and reminds me of my childhood. Growing up, I didn’t get any of the toys; my family couldn’t afford to buy them. But what was awesome was my friend, he had two brothers, and they all wanted the same Star Wars toys, so their parents would get them three TIE fighters, or three Death Star sets. So on Christmas, I’d open up my presents, run to my friend’s house, and they would get every single Star Wars thing, and I could play with them. And then they got into GI Joe, and they had the big hovercraft, and the space shuttle, it was awesome. Anyway, the combination of the movies and the toys makes it a classic for me."

"I adore Fassbinder’s work. I’ve been living in Germany for the last ten years, and I think he’s one of the biggest reasons I moved there. Ali: Fear Eats the Soul is my favorite film of all time. It’s the kind of film I’d never think of making—I’d never have thought of those two protagonists as a possible couple—but it’s the most beautiful and yet political film I’ve ever seen. When I was growing up, I never thought that I’d be able to make movies, but I began to learn by discovering films that were made in a way that was very technically simple yet powerful in terms of character, which is what you see in Ali. I come from an Algerian family that emigrated to France in the seventies, so there is something about the character of Ali in particular, and the empathy that the older woman has for him, that touched me. There’s also something about the way Fassbinder depicts sadness that I love and find refreshing. I absolutely adore In a Year of 13 Moons, Fox and His Friends, and Querelle, which made me feel the world differently. I didn’t feel so alone; I felt there were other people who were like me."

"There are a few different ways to experience the Twin Peaks franchise. One is as pure vibes—as Brenda Walsh puts it, “it’s not hippie witch, it’s Twin Peaks and it’s very in.” That’s easy to dismiss, but honestly it’s often what gets me to watch. Another way, and this seems to have gotten increasingly dominant lately, is as a puzzle-box mystery-mythology, a more arcane Lost. And that’s wonderful, if only because it encourages a communal conversation to untangle it. But Twin Peaks is also about a teenage girl who was repeatedly raped and ultimately murdered by her father. About how the ongoing abuse shaped her whole world, creating desires and addictions that terrified and excited her, and drawing in a circle of men fascinated by the prospects of saving and/or exploiting her. About how the tortured energy she exuded made the other girls, even her best friend, jealous. It’s a scenario so human and awful that those people—or a viewer—might need a whole fantastic mythical framework just to be able to take it in. Twin Peaks: Fire Walk with Me foregrounds this last aspect. And that’s why, to me, it’s the beating heart of the series."

"Let’s go with Unforgiven. Again, I believe that was an Academy Award winner. A number of things were so fantastic about that film. The Western genre had died — it had gone away by that time — and here comes Clint Eastwood, who was known for Spaghetti Westerns, which were of course Westerns often with Italian directors, or whatever the reason they call it that. And whether those were good or bad, they defined an era of filmmaking, a certain type of movie that came out three or four times a year, and then they vanished. And then in walks this guy who’d done that era and was a major star, a major, major star, and I believe he directed Unforgiven. How entirely different from any other Western we’ve ever seen. And you care for this guy who spends the entire film telling people he’s changed. He’s not the guy he once was. And then, just when you care about this character, you realize he’s the same guy he always was. When push comes to shove. It was a bit of a surprising ending. And yet, to me, resonates to the overall quality of the film. And it’s one that stays with me."

"I didn't get into him at all for ages. For years and years I just thought, what is all the fuss about?' I just could not get into it. And then one day someone said: ""Have you listened to Hunky Dory?"". I hadn't checked that out at all. I really got into Hunky Dory. I transcribed and analysed nearly all the songs on it. I got into Low, and I quite like 'Heroes', and Scary Monsters. But there's a lot of stuff I don't like. I could probably list 10 Bowie songs that I think are amazing, and the rest of it I'm not too bothered about. I'm really obsessed with him as a character, as an artist. To me he's incredibly impressive and really exciting, his relentless drive to reinvent himself. Probably one of the most inspiring people I can think of. But musically, it's not quite as abundant. That last album: it's quite weird. I was really into Death Grips, he was really into Death Grips, and Kendrick Lamaar as well. It's an album that owes a lot to those guys, but then it's also got a saxophone player on it. This track 'Girl Loves Me', he uses the language from Clockwork Orange. It's just a brilliant idea."

"And then, I guess, The Sting is the next one I gotta say. This was for me, and probably for a lot of people, at least of our generation, our first exposure to con men movies was from The Sting. It really holds up. Like a lot of the movies on this list, it holds up because of the central relationship, because of the Newman-Redford thing. Watching those two guys together, even though at this point, plotwise, I would be fairly… Well, I don’t know. I wonder, if someone saw The Sting clean for the first time today, now with all the movies that have imitated it in the years since, whether anyone would actually kind of say “Oh my God” at the end of it. I don’t know, but I don’t know that it would matter, because I think the fun of the film is in the game playing, and specifically in the way that these two guys play off of each other. It seems like something that’s particularly vulnerable, just because of the twist, the nature of the end. But like I said, that’s not really what makes the movie tick, oddly enough. It holds up just as a really fun ride."