"“It’s predictable, but Performance, the Donald Cammell movie, contains one of the great cinema performances from James Fox. Mick Jagger is in there too giving a very good performance, and I know that by heart too. The soundtrack is epic, it’s beautiful, including a great Mick Jagger song called “Turner’s Song: Memo from T” which is a great, great song with some beautiful lyrics. It’s just a film that I have a soft spot for. I always remember watching Mean Streets, which was the first time I ever heard a Stones song in a movie. It was on the jukebox in the club, Jumpin’ Jack Flash was the song, and it was shocking that the Rolling Stones would allow one of their songs to be in a movie. But Scorsese has always had them in there; he’s a man of taste. They have a long relationship, because the Stones don’t use to let just anybody use their songs, you’d never get a Rolling Stones song in your movie. I also enjoyed Shine a Light, I thought it was wonderful. I loved the guests, Christina Aguilera, my god! What is that? She’s got so much talent, she’s so brilliant, and she looks so beautiful. You can see Mick’s face; he looked like he was so happy. Not only is she sensationally beautiful, glamorous and sexy, but also she can really, really, really do it, and the two of them pumping out that song was just beautiful. I’ve never seen a man look more happy or more grateful than Jack White, standing there singing Loving Cup. If you ever want to see a portrait of a young man looking as happy as it’s possible for a young man to look, check out Jack White in Shine a Light. At one point they’ve both got a microphone, Mick’s got one, he’s got the other, but he can’t bear it, he rushes over and shares a mic with Mick, because you know he wants to be able to say, “I shared a mic with Mick.” Then at the end he shakes everybody’s hand, Charlie, Keith and everybody, and if he was a dog he’d wag himself to death. If he’d had nine tails, it wouldn’t have been enough."

"The thing about Shiny Beast is it features Beefheart having come through a very difficult period. If you look at him, he started off with The Legendary A&M Sessions doing 'Diddy Wah Diddy' and then Safe As Milk with Ry Cooder, which is a great blues album with a bit of pop to it. And then you've got Trout Mask Replica which is one of the wonders of the world, really. I love the myth of it, him locking the musicians up in the house and feeding them hallucinogens but not proper food, of them having to go to the local store to thieve food to keep body and soul together, and Beefheart taking credit for all the music when he couldn't really play and he was surrounded by these musical geniuses - so the myth of it is well deserved. They're all great records but then the Magic Band left him and he got session musicians in and it just got depressing. He wasn't a particularly nice character, he was just hell bent on making records the way he wanted them. For example, there's a story about him firing a crossbow at one of his musicians. That's why Ry Cooder left, he had to dive behind the sofa and then left not long afterwards. [Actually Ry Cooder quit in disgust after Beefheart fell off a ten foot stage at the Mount Tamalpais Festival, landing on the band's manager Bob Krasnow. The singer was on LSD and in a state of shock after seeing a girl in the audience turn into a fish with bubbles coming out of its mouth. It was the original Magic Band drummer Doug Moon who threatened Beefheart with a crossbow, unable to put up with the singer's incessant criticism. Ed] It was Mark Smith who introduced me to Beefheart and it was this album, it was 1977 and I was 16. It was an amazing album and so beautiful. 'Tropical Hot Dog Night' is one of the most beautiful songs you'll ever hear. 'The Floppy Boot Stomp' is so exciting… it just rings like a bell. It has some of the most beautiful and exciting music you'll ever hear and the musicianship is great."