"It’s Daniel Auteuil, Isabel Adjani… It’s such an incredible piece. It takes place ostensibly in Paris around the time of the massacre of the Protestants by the Catholic ruling family. Basically under the auspices of bringing them in, in the guise of a joint wedding that’s going to unite the Huguenots and the royal class, and this massacre takes place. And it’s dirty, and you can almost smell the clothes, and it’s just so well done. It’s a great story, and I just love watching it."

"Electro 1 represents the kickstart of that kind of music for me and a whole crew of mates. We were 13 or 14, this arty, conscientious little urban crew of kids just roaming around. It was fun, it was exciting because the music was really hard to get hold of, there was only one pirate radio station, I think it was Tim Westwood that did it. You had to tune into it on a Thursday at 4 o’ clock. They would play all these kinds of tunes, but no one else was into them. No one was into hip hop. Everyone else was into that gothy fucking angular stuff, whereas I didn’t know who The Smiths were until about four years ago. We were kind of early pioneers, well, not pioneers, we were rubbish Chiswick kids, trying to be a bit urban, adopting some of the clothes but quite naively. We all looked like total pricks. I always got it wrong and wore a chef’s hat or something. I was like the dude in the band that never looked quite right, the Gary Barlow one who doesn’t fit the clothes that the stylist’s picked out."

"A haze-filled dream world of a novel about the survivors of nuclear fallout attempting to rebuild their lives and society. In my head, Fiskadoro mingled with old 1960s movie themes of young women growing up in small towns, wanting to leave their hometowns behind and be somewhere, anywhere, and someone, anyone, else. Maybe they’d glimpsed a highway billboard that advertised clothes, a car, a golden future, a possibility. Maybe, thanks to the machine of consumerism, they felt they were missing out on something they hadn’t even known existed."

"Medium Cool. I’m crazy about that film. To me, there are a lot of great films from that era because I was seeing them in our movie house when I was a kid [Luhrmann’s dad ran a theater for a period], but what I love about Medium Cool is that it preempts the idea of taking a real historical event and weaving a drama around it. So that’s great about it. Robert Forster is great in that picture. Not to mention — and I’ll be a bit flippant here — the clothes are fantastic. It’s just a great pop cultural picture."