"This is a flawed film from the master, and I read in his autobiography that after it tanked, he tried to kill himself and did not make a film for five years. I love it! Such gorgeous vignettes, like the man who stops talking and loses all the color in his flesh after he finds out his wife cheated on him! Or the drunk couples who swap partners every night! He built a whole artificial dumpster on a stage and painted it in radiant colors, and then went about telling the most heartbreaking short stories of madness and despair in it. It’s like Raymond Carver on some very good acid, taking no prisoners!"

"One summer, they were doing a ’70s movie revival at the Film Forum in New York, and Soter and I would go see double features; you pay for one, you see two. All ’70s movies. It was great, so we’d go there all the time. One of my favorites was John Cassavetes‘ Husbands. That was a great, funny movie; first of all, it was cool because a lot of it was improvised. There’s Peter Falk, Ben Gazzara, John Cassavetes…one of their buddies dies, so they basically decide life’s too short and they’re going to go get drunk one night and reflect on life. So it’s one night of these guys going out and drinking, but then they end up going to London."

"Definitely my favourite song on that record [Yeezus]. I think it's a great record, if you can get past the ""bitches"" and what's that about Chinese pussy? Kanye, fucking grow up man, you're not 15. I was talking to Michael Azerrad, 'cause he's got me to do a couple of podcasts for him. And his clever little thing is to get musicians to review other albums. In conversation, I mentioned this track, and he said he got Lou Reed to write about the record. He said Lou Reed was in tears listening to this track. It's a very emotional track and it's very clever. He switches between making jokes and sounding very desperate indeed. One minute he's being very flippant, and I guess it's like being drunk and not drunk. The drink and the comedown, the hangover, whatever. Really beautiful, but also powerful, and quite punk in a way. And the arrangement is so clever and unexpected and unusual. He'll give you one thing and then give you something quite different, but it all works from section to section. I heard this while I was making What Happens Next and I was really impressed with the synth bass sounds, so I ended up having Thomas [McNeice] in, and we worked out where there would be a mixture of his bass playing and some electronic bass. You know, Lou Reed's point is that Kanye is demonstrating what he can get away with, which is good. I think there's quite a few ""I can do what I like moments"", including talking about ""sweet and sour pussy"" [sic]."

"I wasn't sure if I could pick Pixies as well as The Breeders, but fuck it! They're two different bands. I wanted to put this in here because seeing as this is the story of The Big Moon, as a band we have quite a broad range of music tastes. We all love bands and guitar music generally, but there are so many styles and it can go so many different ways. We all like a lot of the same bands but there aren't that many songs where we have that special cross-over moment and we find a song that we all adore. In the van, whoever’s driving gets to play whatever they want. Quite soon after we formed as a band we went round to Fern's house to try and think of a band name. We had this great night where we got really drunk and danced to Tom Jones. I seem to remember making quite a lot of mess, spilling drinks and stuff. It was just four girls getting very drunk together. We all realised that we loved this song and someone put it on the playlist. We were thinking about calling our band No Aloha after that, for about a week. We even wrote it in big letters on Fern's bedroom wall. We thought it'd be a really cool name, but then in the end we thought it'd be a bit of a mouthful to say on stage - "Hi, We're No Aloha!" - and we didn't want a lifetime of spelling it to people. But whenever it comes on in the van we're always like "yaaaay"!"

"The Crossing Guard. Not a comedy. [laughs] The Sean Penn film, with Jack Nicholson and Anjelica Huston. I just remember that taking my guts out of my stomach and pulling them. I remember being doubled over – I went to see a matinee – and I was doubled over, and I was just… The loss of the innocence of this little girl. And I forget the name of the actor who plays the drunk who hits this little girl, but he wakes up, he comes to in the jail, and he realizes that he’s hit this little girl and he killed her, and he bangs his head into the bars, and he has this indent in his head for the rest of the movie. Probably more background than you wanted!"