"What can I say about Julianne Moore other than that she is a queen and a goddess and I love her. This film is so unsettling, and I find it hard to describe because the monsters and enemies are invisible. What is leading this woman who is technically fine, technically well-off, technically clean, and technically shouldn’t have anything to worry about down this spiral of sickness and paranoia? I often feel that way about myself when I’m dealing with existential crises of my own. I count my blessings, but I can’t get away from, at certain points, this feeling that something is wrong, and this film hit me right there. Haynes was ahead of his time in creating that sort of ominous, intrusive, odious ambiance without beating you over the head with outright horror or contagion, or all of the easy ways to get you to feel scared. It’s all that isn’t being seen in the film that is scariest."

"I’m always fascinated by what girls do with their trauma. Laura Palmer is a girl who is caught up in some bad shit and is a victim of sexual abuse. She understands, in some way because of her trauma, that she can never be this clean, perfect girl that everyone thinks she is, and instead of succumbing to self-hatred internally, she externalizes it and seizes control of her narrative as a bad girl, as a dirty girl, always choosing her path to destruction and chaos, which I find perverse but also can’t tear my eyes away from. The way Lynch bridges fantasy and reality and uses supernatural forces to symbolize trauma feels like a more accurate representation of the chaos that trauma wreaks in somebody’s mind and body than a cold, hard naturalistic portrayal. I love that he was able to circumvent TV censorship and really show what was going on in the dark."

"When my eldest was a baby, I'd take her on tour, and this album was an important part of the kit. There'd be a battle after the gigs to get her into the car and I'd be all, "Put Tumble Bee on quick! Put Tumble Bee on before she kicks off!" And then everything would be alright. So I'd like to thank you, Laura, for saving my life a few times [laughs]. 

This is a really wonderful album for children, well-crafted and beautiful, that doesn't dumb things down. I still listen to it now, quite happily, without the kids. Becky and Niopha have babies now, and we had them on tour with us when they were both about six-months-old. That time in my life is very much done, but it was really lovely. I remember Becky standing backstage, and breathing out, going, ‘Oh my God, I'm in a quiet room with a clean dress on'. I remember that feeling too [laughs]."

"I remember a group of us all went to this record store - FOPP in Covent Garden - and they were having a Blue Note sale, and every record was like three quid. And I remember all of us going in with like 30 quid and we’d just clean up on the catalogue, and that CD was one of the first ones I remember going home and listening to. I don’t know if you’ve had one of them experiences where you listen to a record and you just feel something change in you. Like, what's happening? How have I never heard anything like this? There's so many questions in your head. Even still to this day I’m like how did you even make that? How do you even begin to approach that and make a work like it, to this day it still stands that test of time; creativity, authenticity, sound, energy all of that stuff. Yeah man, shout out to Andrew Hill."