"Anytime somebody’s like, “You want to watch Boogie Nights?” No problem. Carve out the afternoon. I’m ready to go. Again, story, performances, direction, music, era, subject matter — it all works for me on that one. Both as just a simple audience member who wants to check out of life and have a nice time, and also as someone who works in this industry and appreciates as an objective viewer the craftsmanship of that film. I mean, “It’s my big dick and I want to f— now, Jack?” How do you write something better better than that? [laughing] I’m constantly quoting that to friends. But there’s this thing that a friend of mine just showed me on the DVD that’s called the “John C. Reilly Files,” or “Reilly Files.” It’s basically scenes that were not used in the final edit, but are John C. Reilly-based scenes. They are incredible. It’s so cool. So many of them are — maybe my friend who showed it to me, maybe he’s lying — but so many of them are cut scenes during the recording sessions. Things like that, where he’s the ultimate wing man. You know what I mean? He’s repping so hard for Dirk in the recording studio. It’s a bench marker. I would be interested to see what other films came out in 1997. Like what really holds up. Like, Magnolia still holds up for me. Punch Drunk Love still holds up for me. PT Anderson — those movies. I went back and watched There Will be Blood maybe three or four months ago. Just riveting. Those movies don’t get old for me. There’s so much to digest in them."

"I grew up in London, but I spent my teens in the countryside, and I’d come to London on the weekends. It was the early stages of the band where we were meeting new people, getting drunk and stoned - all of those really formative experiences of exploring the decadent debauchery that London has to offer. Then at the end of the weekend I’d have to hop on a train and go back to the sanity of school life. “Whenever I hear this song it evokes that feeling, the sense of the early days of the band and discovering my gang. Your early twenties are about finding your tribe, which is what I did during that time by travelling to London and having those formative experiences with them. “Last Train to London” evokes that sense of finding where you belong, and it happens to contextually fit in with my experience at the time. “It’s a stark contrast to the previously mentioned songs, which are a little darker and heavier. It’s a feel-good tune to me, although it’s a song which has a kind of sad, bittersweet mood in the lyrics, like “I really want tonight to last forever / I really want to be with you.” I felt that bittersweet feeling at the time. “It’s also just a great disco banger! It’s mixed so loud and so relentlessly; and sonically it’s an incredible song. I’m uplifted whenever I hear it, it makes me feel elated. I always drop it when I DJ, it bulldozes the songs on either side of it when I play it."

"I heard this record in Minus Zero record shop in Portobello Road - it was an old shop that had been there since the early 70s or early 80s, and it stocked a lot of Bob Dylan, Beatles and The Beach Boys. Kind of power-pop albums. I used to go in there to buy Big Star and Big Star-related records, and it was the best place in the UK where I could do that. I'd gotten all the Big Star that I really needed in my life, but I wanted more Alex Chilton records. I asked the store to play me Like Flies On Sherbert. They put it on after saying it was rubbish, and the first thing I heard was the sound of tape stopping and re-starting; the record is full of lots of those sounds. It's a pretty lo-fi, raggedy-sounding record in terms of the production and the performances. It just sounded really unlike anything else I've ever heard before. Really loose and groovy. It's full of life - like a punk record with soul. You can tell that they were probably very high and drunk while they were making it - mistakes and everything are included in it. That's why I made a second About Group record called Start And Complete with Charles Hayward, Pat Thomas and John Coxon, in one day without anyone knowing the songs before we played them. I wanted to capture spontaneity. The record I made with About Group is much softer than this, as my style is very different, but this album is definitely an inspiration on me."

"I first heard this record when I was eight or something. I think my mum gave it to me and I listened to it everyday. It replaced The Jackson Five's Dancing Machine that I used to dance to all the time before that. Then I started running home to this Annie album instead. I had so much fun singing along to it and I learnt all the songs. Then I got the leading part in the musical Annie in my school, so it was really the start of my career. I didn't think so much about the lyrics but I knew that my home life was not very happy. I mean, even though I felt very loved by my mother and always had a connection with her, and we have a really similar sense of humour, the song 'Maybe' really connected with me, it was my favourite one to sing. You know: "Maybe my parents could be like this, or maybe they could be like that." My sister always told me I was adopted, which wasn't true but I wished it was because my dad was so mean that I would always be like, "Maybe he's not really my dad". So I really related to that song, imagining actually having a happy childhood. Imagining having parents who were happy and in love and really loved me. I related to that sense of longing but I didn't really know why. I didn't think, "It's because my dad is abusive and drunk"; I didn't think that far ahead, I just sort of intuitively connected to that song."