"Sometimes my biggest reasons for connecting to a film are simple, primitive, just about a feeling. Videodrome and Repo Man are two that fit into that category. In addition to the fact that it costars Debbie Harry in my favorite roll of hers, I love Videodrome for its particular use of my hometown, Toronto. Sure, Toronto is used in films all the time, but usually disguised as New York, or Chicago or Detroit. No filmmaker has used Toronto better and more consistently over the years than our hometown hero Cronenberg, though, and Videodrome he shot and set in the downtown Toronto of my childhood, complete with a central part of the story revolving around our local cable station CityTV (as “Civic TV,” the station James Woods’s character, Max Renn, works for), which really did play soft-core porn if you stayed up late enough. To this day, my dad lives on the street Max Renn lives on, and Barry Convex’s Spectacular Optical is a bakery on the same street as the Electric Youth studio downtown, just a minute away, making the connection both past and present. Repo Man has my favorite Criterion release cover art; it’s amazing and designed by movie poster artist Jay Shaw, who also designed the artwork for singles from our album Innerworld. With Repo Man you get Harry Dean Stanton in his first big-screen lead role, Emilio Estevez as his partner, and the streets of Reagan-era Los Angeles set to a classic punk soundtrack. What more would I need to love this film? Nothing. But like with all great Criterion selections, there’s always something new to take from it with every watch."

"Sometimes my biggest reasons for connecting to a film are simple, primitive, just about a feeling. Videodrome and Repo Man are two that fit into that category. In addition to the fact that it costars Debbie Harry in my favorite roll of hers, I love Videodrome for its particular use of my hometown, Toronto. Sure, Toronto is used in films all the time, but usually disguised as New York, or Chicago or Detroit. No filmmaker has used Toronto better and more consistently over the years than our hometown hero Cronenberg, though, and Videodrome he shot and set in the downtown Toronto of my childhood, complete with a central part of the story revolving around our local cable station CityTV (as “Civic TV,” the station James Woods’s character, Max Renn, works for), which really did play soft-core porn if you stayed up late enough. To this day, my dad lives on the street Max Renn lives on, and Barry Convex’s Spectacular Optical is a bakery on the same street as the Electric Youth studio downtown, just a minute away, making the connection both past and present. Repo Man has my favorite Criterion release cover art; it’s amazing and designed by movie poster artist Jay Shaw, who also designed the artwork for singles from our album Innerworld. With Repo Man you get Harry Dean Stanton in his first big-screen lead role, Emilio Estevez as his partner, and the streets of Reagan-era Los Angeles set to a classic punk soundtrack. What more would I need to love this film? Nothing. But like with all great Criterion selections, there’s always something new to take from it with every watch."

"I love the orchestration, I love the sentiment, [Thom Yorke] is going through a peaceful patch on that record. He sounds like for the first time he is crooning to you a little bit, like he is a little more comfortable. He is still dealing with huge social issues in his lyrics and very deeply personal experiences as well. On 'Morning Bell' he sings: ""Where'd you park the car?"" That's the conversation your parents have when they are newly split up. They still have to share a vehicle, that is a conversation that they have to have. If you're a child of the '80s, nowadays everybody's got their own car, but that was the only communication my parents had after about six months. And when I heard it singing out in the middle of his lyrics, I just knew for sure that's what he was talking about. So, beautiful, overarching. Sometimes Thom's lyrics are like being berated. It's like being shouted at, and then at other times, he seems to pull a rainbow out of the sludge out of nowhere. That record, it could have been any of them, but that's the one I consider mine, in the same way I feel a sense of ownership of those Talk Talk records. That's the Radiohead album that's given me the most joy. It can take you back to a sad time in your life, and I think that's what good music does as well. You know it brings you forward to the present, but also reminds you of your emotional connection to something in the past. And I think if an album can do that, it's worked, basically."