"I'm the step-son of Al Green, so that's my father in many ways. Let's Stay Together has that tom-snare that just gave it this whole deadpan quality, and then there's the organ work. It sounds like church. What's so special about the organ is that it's got that dichotomy about it. It can sound absolutely angelic or downright evil all at the same time. It's the only instrument can sound like that to me. And they made good use of it. He used the same sounds, the same producer, the whole way through; it's not like records today where people use this producer or that producer. That's what I was able to acquire with Danger Mouse. Al Green is everything. He's everything that I am."

"Because of Malcolm McDowell I’m gonna go into A Clockwork Orange, because that was the other great teenage performance, along with James Dean in East of Eden. Stanley Kubrick’s treatment of the subject of violence and the mystery of nature and to go against out natures and what is or isn’t necessary, and what is the true evil, and all of these questions that came out of the absurdist and evocative film that is Clockwork Orange, again, is everlasting. And also his lighting: even today when you look at some of the stills from the movie, when they’re in the Milk Bar, it looks like virtual reality and I don’t know how he did it — he was really a master of light."

"Thinking about my upbringing, this was actually one of the first movies I saw. I was about 15. I was always told that films were evil and such, but I started to realise what a load of crap it was that something this good should be forbidden. I had been allowed to read as much as I wanted when I was younger, so I recognised great art when I saw it, I just didn’t realise it would be at the cinema as well. And so I walked away from that. To Kill a Mockingbird was so important because it was such adult film-making – to see something that dealt with such an important issue and had such an enlightened outlook on the world.”"