"""And then you get into the contentious fifth film, and I’ve jotted down a bunch of things I thought, well Ran is a possibility. I love Akira Kurosawa‘s take on King Lear, I love what he did to it. I love the movement, the battles. You know, there’s nothing about that film I do not enjoy. Laurel and Hardy’s Way Out West, because I thought that would be a wonderful choice, and it does have, to my mind, the finest dance in the whole of film. But, I thought about A Matter of Life and Death, which was a film that was enormously inspirational when making Good Omens. I felt like that was of the same DNA as the thing that we were doing … Also Bedazzled, the original Peter Cook and Dudley Moore Bedazzled, which again has a lot of the DNA of Good Omens in it. But eventually I came down on Belle et la bête, [Jean] Cocteau’s Beauty and the Beast. I remember watching it and feeling transported. For me, it’s like dreaming. It does the same that Bride of Frankenstein does, where I can never quite remember the plot when it’s over, I’m just aware that it’s finished now and this wonderful place that I went has gone away. My children do not like black-and-white films, and once, for Father’s Day, my daughters asked what I wanted for Father’s Day, and I asked, “Will you watch this film with me? It’s a foreign language film, so you won’t like it, and it’s black and white, so you won’t like it, but will you watch it with me?” They said, “Well yeah, for Father’s Day we will.” And what I loved was that after 10 minutes, they had forgotten that it was a foreign language film, and they had forgotten that it was a black-and-white film, and they were entranced by this retelling of Beauty and the Beast, made by Cocteau not even on a shoestring; he’s in post-war France, immediately post war, and they had no money for anything. Everything is being improvised. Everything is being created on the fly, and yet what they come up with is something that is so much cooler than any infinite amount of CGI."""

"The record came out in October and Roc Marciano is like a national treasure, basically [laughs]. The record KAOS that we did together is just fucking ridiculous and I couldn't wait for it to drop. I wanted to include it because when I heard what Roc had done, I felt the same kind of excitement I felt with some of those early records which is rare for me. He's created a whole different style of subcultural, subversive music right now and he's undoubtedly one of my favourite MC's. His work is mad, original and extremely lyrical like GZA. Like every line he writes, you could make a fucking movie out of each one. To work with somebody, I've got to click with them and I've got to meet them and if it's cool, we do some music together. It has to be like that for me. I've worked with everybody I ever wanted to work with growing up and now, I really like picking artists and working with artists that aren't really well known but who do something extraordinary. This project was all just about getting up, creating art and having fun and just enjoying myself. I've been producing people's music my whole life and I've turned down working with a lot of big pop stars for a lot of money because I just like doing my own thing and it has to be right. I don't like making a beat for someone and just giving it away – it has to be something I love and something I enjoy, which is what this project was all about."