"This is one of my favourite films, and I’m going to almost insist that you say in this article that people must go and watch a song called Carol Brown, from the new series of Flight of the Conchords. It’s been directed by Michel Gondry, and it’s just so amazing; for the rest of the episode you can’t really see that it’s him, but up comes this dazzling thing. I just think for a movie with such a massive concept, that idea, that sort of fantasy, should be done by being completely realistic. In a way it’s like Let the Right One In – the office where they alter your mind feels like a ghastly dental surgery. So you’re in this weird mixture between something that feels terribly realistic, with Kirsten Dunst jumping up and down on a bed, absolutely normal, and yet it’s completely freakish and odd and had these spectacular special effects in it. I love the sort of downbeat-ness of the love story — the fact that, really, they’re sort of right for each other, but only because they’re not right for anyone else. I think it’s a genuinely great fantasy movie, a great love story, and Kate Winslet‘s hair is, after all, blue, so that’s obviously a good reason for seeing it. You’ve been on this massive ride, and it gets back to these people in a corridor, which I suppose is like — if you land on the moon, there’s just you on the moon, and I think there’s something profound about the whole thing."

"The next one is The Thing, the remake with Keith David. That was the first Rated-R movie my mother ever let me see, and oh, dude, I was scarred. I was scarred in a good way. [laughs] John Carpenter’s The Thing took me to a whole other place, man. I was like, “Oh my god!” It was almost like losing your virginity. [laughs] Remember what I said about coming out of the theater a different way? The Thing was so violent and so creatively crazy, no one had ever seen anything like that on screen. You know, heads growing legs and walking away? I think Rob Bottin was the special effects guy on that. But, you know, heads ripping themselves off, dogs having three heads, it was just “Oh my god, there’s no stopping this!” One of my favorite movies; if it’s ever on, I can’t turn it off. I just can’t. It’s impossible. And the thing is, you see how most of the movies that I’m mentioning have always had copies, you know what I mean? It’s like, any movie that’s out there, you can see they’re trying to be like The Thing, or they’re trying to be like Aliens. It’s so wild how you see this kind of dynamic, because it changed for those filmmakers when they saw it too. So those are my top five for today. I tell you, that’s so hard to say. [laughs] Again, I love movies man. I just love it."

"It may seem like a change of tack, but it’s not actually. This is his most processed album. This is what I’m a fan of John Martyn for and something I don’t think anyone else has ever done before. It’s that sort of processed acoustic guitar that features a lot on my solo record, where the guitars are so heavily processed. John did this brilliantly. I saw him tour this album – it was one of the first gigs I ever saw as a youngster. It was astonishing hearing him making these beautiful soundscapes on a battered old Martin guitar through a delay line and a fuzz box. Not only was he a master of the guitar, he was also a master of processed sound. He used the voice in the way, again, that was like a tone generator. The words were barely audible but they made tones, in the way that Miles Davis might play his horn. Sometimes he’d sing in a completely different key. It was all about where he positioned the sound and the timbre. I don’t think he ever released another record that explored the acoustic process in the way that he did here. I know people that worked with him and had his effects pedals – I tried to get hold of them for this project (Edgeland) but they were long gone. It was a reference point for me for this album. I wanted to take that concept on, and Inside Out was my jumping off point."