"I love Hopscotch and dream of making a movie like it. It’s just full of fun and double crosses. Ronald Neame is very unsung as a director, but he made the coolest movies. He worked a lot with David Lean, so I think it’s interesting to look at Lean, who did these giant epics, and Neame, who was way more experimental and wild in choosing the kinds of movies he was going to make. Hopscotch is basically a perfect film, and Walter Matthau is unreal in it. You watch him and you think, that’s what American actors should have been and should always be. Hopscotch has that heist-noir and cat-and-mouse thing going on, but it’s also bright and goofy and funny and hits a tone that’s so unique and clear."

"Look, I'm a hits only person. When I go see a show, I don't want filler. Unless you're Sonic Youth or Tori Amos, I don't want your B-sides. Hits only. It's so self-indulgent. I picked Buzzcocks Singles Going Steady because I like that it's a little campy and gay. And the harmonies are good. It's that simple. I think with music sometimes it is that simple. It was pop punk, not pop punk as it is now, but it was poppy. I got into punk late because what I thought punk was did not appeal to me at all. I was like I couldn't care less about [whispers conspiratorially] Sex Pistols. But Buzzcocks, Gang Of Four, Wire, that's my jam. Melodic and smart and put together and catchy and the rest of it? I don't care. It's self-indulgent, like you say you don't care what we think of you but, yes you do. Singles Going Steady doesn't take itself too seriously, and it's gay. It's so gay. I think it's cool to think about being gay in the punk scene, I don't think it could have been too easy but to me that's ultimately not giving a fuck. It must be easy to be some straight, white dude and be anti-establishment. Well you're part of the problem, get out of here. You're anti what? What are you talking about? We were so lucky to come along in the 90s, because it was really a turning point for pop culture. Look at Riot Grrl, it made punk a safer place for women, and then Queercore came along and made it a safer place for queers. I think, there is a refuge in punk rock now, but that's the thing why I think the Buzzcocks was more punk than punk, because I don't necessarily think there was a refuge then. I think it probably felt pretty lonely, because you weren't disco, you weren't pop, that's where queer culture, or the gay scene really was, and to be a punk then? I don't think you could seek refuge in that. "