"I know three right off the bat. Planes, Trains, and Automobiles. How’d it influence me? Big Steve Martin fan. Knew I wanted to be a comedian when I was very young. And my sister brought the Wild and Crazy Guy album home, which I still have in my office. When Planes, Trains came out, that was the first film that really I looked at and said, “I’d love to, someday if I’m lucky enough to have a comedy audience, bring them into film and make that kind of movie.” Big heart, big laughs. And, of course, Steve Martin at the car rental shop, you know, “I want my f–king car right f–king now.” Unbelievably funny movie. Of course, John Hughes, John Candy, one of my favorites ever. Can I take two minutes to tell a story? Awesome f–king John Hughes story. [My Best Friend’s Girl director] Howie [Deutch] was directing Some Kind of Wonderful and the studio wanted a four-page rewrite on a scene. So Howie’s all, “I can’t figure out what to do.” Calls John, says, “Can you come over and help me write these four pages?” For two-and-a-half hours they’re just pacing around, John is just smoking incessantly. Howie says, “I need to lay down. I’m beat. I’m going to sleep a few hours and then we’ll finish it.” Then he says, “Dane, I wake up at about five in the morning and John is scribbling like crazy. He hands it to me and says, ‘Read this. It’s only 50 pages right now, but read it. I’m calling it Ferris Bueller’s Day Off.’"

"This came out when I was 14 and had just started learning how to play guitar, so that’s kind of the album that coincided with me wanting to go into music. No coincidence. The first album I ever bought was Run DMC’s Raising Hell and that had Aerosmith on it, so I was always interested in Aerosmith. I think Pump sounds really special, it’s my favourite Aerosmith album – and I like a lot of Aerosmith. There must be a technical thing about it, because it doesn’t sound like other rock albums. You know how a lot of metal albums have scoops of the lower-middle absent, but there’s a lot of bass and a lot of trebly stuff so it’s like an assault? Well, it seems like the Pump album has got some lower-mid presence, so it sounds like it contains a real drum kit – it sounds like you’re in the room with them. I love the ballad ‘What It Takes’ at the end. It’s just awesome. I loved the way Aerosmith would arrange their albums. You would have about 10 songs and it’s all innuendo and riffs and sex music, and then the last song is the cuddle. I think that’s brilliant. I thought it was timing at first. Kevin Shirley produced Nine Lives for them, and I thought that was a brilliant album too, and I love Permanent Vacation, but I was a bit young for that. I think it’s just a really concise record and even when it has the interval bits between certain songs… you just can’t listen to one track, you have to listen to the whole thing to get the vibe."

"I've got some family in Canada, and when I was about 12 we went over for a holiday. When we came back, my cousins had given my brother a load of American music, and that was really the first time that I had heard Smashing Pumpkins. And he'd come back and play these tapes and it was like: ""Wow! Music from America!"" This was the time before the internet, and we didn't have a TV either, so this was all kind of exotic. I remember not really realising that they were playing guitars because it didn't really sound like that. I couldn't tell what it was made of. It sounded like machinery and that it was made of fiddly twiddly weird tones, and obviously with his voice on top of it, I was like, ""What the hell is this?!"" I remember for a year not really liking it, but my brother kept on playing it, and it slowly crept into me. That whole album is so deeply produced that the playing on it, the sound on it, is just fucking awesome. The breadth of different sounds are amazing. Every intro is like a perfect little new world opening up. You always think of Billy Corgan being a total egomaniac locking the other band members out of the studio as the story goes, making Jimmy Chamberlin rehearse for 12 hours a day until the drums were perfect. The end result is this perfect dreamy, shoegaze-y album with a hard core, yet it's also quite gentle as well, which I think is a common theme with all the albums I've chosen."

"I think my husband was friends with or had worked with her or something and then I downloaded the record on iTunes. It might have been the first time I downloaded anything on iTunes. I was like, "Woah, she's fucking killer." I think it's cool how she wears her influences on her sleeve the way LCD Soundsystem does. Why is it that when women are open about their influences people are like, "Oh, you're copying that person", but when men do it it just shows that they have such a good record collection and how awesome they are? I thought, "She's so cool, she doesn't give a shit." Her sound is amazing and her voice is so good. She just put out a new record that's great called 99¢ but I chose Santogold for this because that record has the song 'Creator' that is really important to me. When I would get down in the dumps, I'd put it on and it made me feel like a million bucks. She was my inspiration. That song was the song that got me through really bad times of feeling very unconfident as a singer and as a performer after I'd had four or five years off, and thinking, "Will I ever be able to come back to it?" and, "Looking back at what I've done, did any of it mean anything?" I was listening to 'Creator' and she feels so confident about the fact that she's an important artist in that song. It was very inspirational and made me feel, "I'm an important artist too!" Now I have to listen to her every time I'm cracking up."