"This goes back a long time for me. This was a real defining record for Supergrass around '95 when we were first starting out. It was on the tour bus all the time and I remember our tour manager at the time really loving it. He'd wake us up every morning knocking on our door going, 'baby's on fire!', doing this mad Eno impression and that would always lift us up and make us laugh. There were so many lyrics that we'd sing at each other. I'd meet Danny and go, 'Cindy tells me…' It had this really long lasting effect on us. It's brilliant, just brilliant. It's Eno being kind of clever but dumb, sophisticated but raw and I think it's brilliant. I love his voice and the double-tracking on it and I think it ended up being quite an iconic sound. It's very unique. And for all of his technical ability, I love that he plays dumb on some of these tracks, you know, like on 'Needles In The Camel's Eye' and the guitars are big, filthy, dirty and horrible things. I love it. We almost did work with Brian Eno. We had a meeting with him in Paris before Diamond Hoo Ha and I can't remember exactly what happened but I think our timing schedules didn't work out. It was something frustrating that meant we couldn't work with him. It's weird one. It's kind of like, are they different Brian Enos? Is it a danger to confuse the Here Come The Warm Jets Brian Eno thinking that he was going to walk into a studio with us and create something that gives you that feeling because he's a different person now. I think he's amazing and he's proved to be still a musical force. An incredible guy and he was a really lovely chap when we met him."

"A perfectly executed movie; flawlessly executed. Incredible movie. And the thing — haha — the aspect of it that I like the best, is that I love the ending. I absolutely adore and love the ending, where you’re left ambiguously hanging and wondering what’s gonna happen. Kurt Russell is so underrated as an actor; he’s such a great anchor in every movie. I love him in just about everything he does. I remember one of my fondest memories of shooting Gremlins. I’ve never really talked about this. Right next door to Gremlins was the movie that Kurt Russell met Goldie Hawn on, a movie called Swing Shift. Their trailers were right next to us, so we were on Stage 16, and Kurt Russell and Goldie Hawn were on stage 15, and we were literally 20 feet away from each other. You would exit the stages and walk towards the commissary and you’d have to walk past them. We’d have frequent breaks from Gremlins because the special effects would snap sometimes and there would be fixes that were needed and whatnot, so I would go outside and get some sunshine because it’s LA and it’s beautiful. So I’d go outside and sit on the steps and play with my Calico football or whatever game thing I had, and because I loved Kurt Russell already from The Thing and I loved Goldie Hawn, I was this interloper. Somehow I’ve managed to star in a movie — I don’t know how I did it — and I would watch Kurt Russell and Goldie Hawn and their relationship unfold. I’d see them chatting a little the first couple of weeks, and the next couple of weeks they would go to the commissary together. A few weeks after that, they’d walk to the commissary a little slower holding hands. I thought even then, “That’s some chemistry right there.” And they’re still together. You’d see bits and pieces everyday, and if you had any inkling about how to read body language, it was pretty self-evident."