"I’d like to say that the television version that’s longer is better than the version that was in movie theaters. Bergman’s my favorite filmmaker, if I had to choose. It’s very much a culmination of most of the themes and motifs of his career that appears as a physical personification in the very beginning of the film, similar kinds of ghosts that Bergman explored in the past. He has his love for the theater and puppetry and there’s moments of hope and joy, but it also just reminds you that humans have certain demons that they can’t ever escape. It’s really rich and it touches on so many things about what it is to be human that it’s really quite remarkable. And as with every Bergman movie, there’s not a moment of bad performance to be found. But I think that the first episode, if you were to watch the TV version, is just Christmas with a family. A long episode of getting to know a family at Christmas. And I was talking with [Home Alone director] Chris Columbus about Christmas in movies and he was explaining how it’s just a time of heightened emotions for everyone. So that’s a really clever way to learn about this family and all of their dynamics super deeply, by beginning at Christmas. And the first time you watch it, you’re kind of like, “Where is the story? What is this? This is just Christmas.” And then the next episode, the plot begins but you’ve gotten to know this family incredibly closely and so then you’re just so invested with them through the rest of the film. Also, like The Lighthouse, it has some fart jokes."

"I dropped out of university because the band was starting to be quite busy and my friend Daniel Stone, who was an artist, made me a mix CD. It had a different Daniel Johnson song called “Speeding Motorcycle” and when I heard it, I went down a Daniel Johnston rabbit hole. I’ve been down there ever since. “Johnston taught me a lot of lessons. When we started the band, I was the drummer, which was my first instrument, but when the lead singer left I reluctantly took over lead vocals. I really hated the sound of my voice and it's taken me many years to get comfortable with it. ""Johnston was the first artist I heard who really sang in his own voice, he had this really squeaky teenagers warble. It sounds like a kid lost in his own world, in a basement, pouring his heart out into a tape recorder. It had such a profound influence on me.When I discovered his music, between Making Dens and Twenty One, I felt that it was okay to not like your own voice, and it was okay that I’m not Morrissey or Thom Yorke - the people I was trying to emulate at that time. ""Discovering his music taught me that but it also taught me to sing your own truth, to tell your own story, and to not be afraid of revealing your ugliest and most private parts of yourself in your music, because that’s actually how people relate to songs. “A song is a place to hide your ghosts. When you write a song, you’re building a house for your demons to live in. I think Johnston taught me that too. Maybe with A Billion Heartbeats I’ve built a house for a generation’s ghosts, but I’ll have to let other people decide that"