"This is, by far, one of my all-time favorite films of all time bar none. I have seen the film well over one hundred times, and I am always trying to get people to watch it with me. Funny enough, as I type this, I am in Bordeaux, France, at the first ever Bordeaux International Independent Film Festival. I was asked to pick one film that I loved that I could talk about, and, of course, it was 3 Women. The screening is tonight, and I am seeing if for the first time on 35 mm. I had seen VHS copies of the film prior to the wonderful Criterion version coming out, and, of course, I now see and hear things in the film that I have never known before Criterion brought that all in. The film has a magical quality. I experience new things and information about the film every time I see it. It’s like a recurring dream that I don't mind redreaming over and over. It’s my favorite film in the world. I would love to do a one-off film festival somewhere called The Identity Crisis Film Festival . . . and show all films that I feel are similar to 3 Women, such as That Obscure Object of Desire, Persona, and Mulholland Drive."

"In my mind it conjures up those crisp autumn days. The first time I ever heard this record wasn't at the time [of release], it was a few years later. They put it out as part of a double album. That was the first time me and my mate [and early Jam member] Steve Brookes heard it. Steve lived near Woking Park and it was autumn time, so I guess that's always been part of it for me in terms of the sensations that it brings up. It's almost like a concept album in sonic terms. Like a suite almost. I went to see them about five or six years ago where they played three nights at Shepherd's Bush Empire - I went to at least two of them - where they played the whole album with the original line-up. That was really special. So many people that I talk to love that record, from all over the world as well. It's amazing that it's taken over 45 years for it to sink in. I like the English melancholic thing to it. It's something that's in the English psyche anyway, innit? Something to do with our appalling weather. It's probably my all-time favourite record. Whenever I've spoken to people who've never heard it I always try and go and buy them a copy."

"Oh Jesus, have you heard that album? I just recently found that. I think it was when I first got a Moog, and I read the history of it and I heard Jean-Jacques... he was one of the first ones to use it in a pop way. I read a book about him. I didn't know that Edith Piaf sponsored him to come over to the United States. He had this instrument - I saw it on YouTube - that really, at the time, just sounded like the violin and all these other things, and it was just incredible. Also, he did a version of 'Flight Of The Bumble Bee' and he recorded a hive of bumble bees and then went back to his laboratory and spliced them individually - amazing! He kind of looks like my dentist, he's such a nerd! Disneyland uses his version of 'Baroque Hoedown' for their Electric Parade. When he went to Disneyland to hear it he was like, "Wow", he was amazed! I think at one point Disneyland stopped using it and people were like, "What the hell?! What happened to that music?" So it came back. To me, that's part of the attraction, it's wacky, it fits in with all these lights and the kids love it and all that stuff."

"Then, my last one is going to be — this might be slightly more obscure, though it really shouldn’t be. I fell in love with this film when I first saw it and I don’t think I’ve ever seen a film as beautiful, as contemplative. The film After Life by Hirokazu Koreeda. I remember when I first saw it, just being totally blown away by every single frame of it. The honesty of it, the fact that it celebrated life, the fact that it was so unbelievably profound and spoke volumes about living life to the fullest and cherishing every moment. I don’t think there’s been a more beautiful film about life itself. It’s so understated in the way he tells his story. It’s obviously a collection of vignettes and a collection of talking heads, but woven into this narrative. Again, I might be wrong, but I seem to remember that the number of the people who contributed to the experiences of life are real people — it’s almost like documentary-styled elements to the film itself. So you got these really personal memories that are very private. Sometimes they’re nostalgic, sometimes they are beautiful, sometimes they’re funny and amusing. That, for me, is the ultimate win. When the Blu-rays of that came out in Japan, straight away I was like, “I’m buying this film! I need this film in HD.”"

"This was the great danger of me picking these records - that they'd all come from 1974, but that was when I was most enthusiastic about buying records. And Marquee Moon… I just played it over and over and over again. I just love it. US punk was very different [to UK punk]; over here, the concept of it was absolutely fantastic, and that was the whole thing that got me into it, but it was a bit one dimensional. The Ramones were great, but they were kind of a caricature - a cartoon band. And a lot of punk over here seemed to go for that, as a backlash against over sophistication. I just felt that Marquee Moon and the stuff from New York was odd, and it was different, and it was weird - and I always liked weird thing. It still had a lot of energy; I liked Marquee Moon in preference to, say, Patti Smith's Horses… it was just contrived enough. Any further and it would be too pretentious. It's still great today; as soon as I put it on and hear those first few bars of 'See No Evil', it reminds me of when it first came out and I played it non-stop. Although imagine my disappointment when I bought Adventure on the red vinyl and tried desperately to like 'Foxhole', and it didn't happen."