"Photek is moody, it really got me. The title track 'Modus Operandi' was fucking good, the tension, then the first four tracks are really good. It reminded me of CCTV, it caught the atmosphere of this emerging new world coming out the ashes, this refined capitalism, the greed of Britpop at the end of the 90s when things were becoming more intense. Very claustrophobic. They kind of merge, this album and Red Snapper. I used to like getting absolutely walloped after a gig and putting it on, fucking yeah. I was in a sort of Terry Callier type act at the time. He's fucking brilliant - he died about four years ago. That stuff doesn't make the list because it didn't influence the structure of Sleafords really, the kind of music I wanted for it or the vocal. At that time, I only really listened to jungle or drum and bass at home. I was never into those nights, fuck that, no way, I wasn't interested. By that time bar culture had come along and I liked to sit around doing lots of sniff, you know. Sit around, soaking it all in, looking like a tit, you know."

"""The first one would be Lindsay Anderson’s If… It’s a film that I love because it allows me sometimes try and explain what it was like to be a kid at an English Public School — I was a scholarship boy in the early 1970s — late ’60s where you were in — even though it’s set earlier than that and was made earlier than that — you were in a culture that hasn’t changed. I remember just watching it and suddenly feeling understood. Which was a completely new one for me. I’d be, you know, This is my world. It was like, OK, here is something Malcolm McDowell–starring, the idea of kids — while we didn’t actually shoot up the school in rebellion, it was the kind of strange stuffy environment that needed to come tumbling down, and I’d never seen that before depicted on film. For years I wondered about why some sequences were in black and white, and many years later I was reading an interview with Lindsey Anderson and discovered it was because they ran out of money for color film, so they just went over to black and white stock, which works in several places through the story."""

"I also love the movie Moonstruck. I just think, again, it’s so brilliantly performed. I think Moonstruck and Tootsie are perfect movies. Like, I can’t find a flaw in them, and I’ve watched them countless times. I just think that they are perfect films. And in Moonstruck, what they’re dealing with is death, and loneliness, and loving the wrong person, and a family tie, and infidelity. And yet, it’s the most charming, uplifting, happy movie. I mean, the soundtrack, the score. There’s a makeover in it. I mean, come on, I love a makeover. And again, you have New York, you have Brooklyn, you have this wonderful city. You have this culture of this Italian family. It’s just wonderful. And Nicolas Cage gives the most insane performance I’ve ever seen. When he is screaming about his hand in the bakery, I’m like, “What is that? Who does it that way?” Nobody would do that. Only Nicolas Cage would just scream at the top of his lungs, like, “I lost my hand! I lost my bride!” I marvel at the balls, and that performance just wrecked me. Then her, of course, smacking him — we’ll never forget it."

"I see this as the mothership of a whole new century and a step further in the sexual adventures of pop culture. Antony means something to me emotionally. It was a perfect work of art, and people who I'd recommended it to, had despaired at my recommendation and couldn't understand it, and found it depressing, but it just came in a moment in my life when sadly my pet dog died, and it was just before its 17th birthday. He meant a lot to me and it was almost like having a child - a constant companion. I kind of cried non-stop for three months. I was in a gloomy cloud. But there was some sort of hope amongst the glamour and the gloom on that record, and a rebirth or coming out of a cocoon like a butterfly. I did get to meet him after the Turning show at the Barbican - and he's a big bird, isn't he? I also met Andy Butler [of Hercules & Love Affair] who was working on that tour and all the other glamorous characters. That was quite a special moment for me, the Turning performances. That was quite a momentous album."

"From the moment Lou Castel literally falls from the sky into the film, one knows that one has signed up for one darn crazy ride. Of all the films in the collection this is the one that spells y-o-u-t-h with the greatest virulence. It captures its never abetted sense of social claustrophobia and, its consequence, its recurrent fantasies of murder and mayhem. For anyone, anywhere, at any time, who uttered, “Families, I hate you!” this film should be the Bible. Nervy, hilarious, and bleaker than bleak, it manages to make you believe the impossible, namely that a filmmaker could take a trip on the Rimbaud side of the street and not come out looking ridiculous. And, as an added bonus, for those who want to understand the sixties beyond the banalities that are ritually uttered about them, every scene of Fists in the Pocket, with the convulsive beauty of its framing and composition, amply proves how much this period was made by people so steeped in classical culture that they fantasized it could be solid beyond its fragility, shaking it to the core and ultimately ushering in a world they could themselves hardly live in."