"To Bring You My Love is my favorite PJ Harvey record, I was definitely obsessed with her at that point. She was doing something with the blues that not a lot of artists that I was interested in were doing, sort of making it contemporary. That record had a very natural sound, but it also had a real style to it. It was produced. I still reference To Bring You My Love when we make records. I had really come around to Wire and Talking Heads around this time too, and I started to like that kind of abstract lyrical imagery more than literal story telling. It made it easier to write lyrics, because it was easier to hide behind. At that point, when I was writing lyrics it was all about: What can I sing that won’t embarrass me standing up there onstage? And if you could latch onto something that had a cool meaning to it, that was a bonus. But it wasn’t the primary concern. Sometimes that can lead to a lot of really bad lyrics. And a lot of it is about taste: I didn’t know a lot about what Stephen Malkmus was singing about, but it fucking worked. This is when Spoon’s first album, Telephono, came out, on Matador. In the early ’90s I started noticing that a lot of the records I liked had this Matador logo on the back: Guided by Voices, Pavement, Yo La Tengo, Liz Phair. They were the coolest label. To be able to be in the same company as those people was unreal. So, for a brief time, it was amazing—and then the record came out and nobody cared."

"There’s a lot of albums and a lot of artists. There are bands or individuals in which the body of their work or an entire album would be big for me, but then, trying to think of just one track, I felt there should be something from Dylan, because I think he’s the greatest. That album John Wesley Harding, I might have listened to that more than any other Dylan and I still listen to it occasionally. I love it, and ‘All Along The Watchtower’ in particular. At that time, I hadn’t heard Jimi Hendrix do it or any other people do it, it was just this song. There’s something so dreamlike about it, something about it that feels mystical, even before I might have known the word mystical. It’s almost like the song is over without anything having happened. Or did it? I don’t know. I still don’t know. Did something happen? Did nothing happen? Of course, there’s the chord change and the sound of it. I love the whole album, how stripped down it all is, but with this song it’s the lyrics which really got me. It’s almost like remembering some words or images from a dream and it’s strongly felt, but then it can’t really be interpreted in the waking light. I was either at home or at a friend’s house when I first heard it and this probably adds to the magic of it. The album was really old and had been played so much when myself and one of the brothers closest to my age got it. To listen to it, there’s so many crackles and pops, it was almost like a fireplace is going. As I was listening to the music through all these crackling and pops and static, it was like listening to some really old thing that’s somehow getting transmitted to you."

"It’s an interesting choice, yeah. You wouldn’t necessarily associate it with this. But if you think about ParaNorman, one of the things that, from the beginning, we realized we wanted was to create a real place — a real sense of place — and really hold up a mirror to the contemporary world and not create a fantasy American town. We wanted to really believe in it. And it was already in the script that [the movie’s fictional town] Blithe Hollow would be rotten around the edges and not a perfect place. We love imperfection; it’s throughout — even the family in the story are imperfect. So what was really cool about watching George Washington — and looking at the photography by William Eggleston, by the way — was just how the kind of downbeat world was celebrated, though great cinematography and great photography. And in George Washington, a lot of it’s just about the sense of place. It really takes time developing a sense of place with great photography and sound. So in our first act, when we introduce Norman’s world and the town of Blithe Hollow, especially when he’s walking to school, we actually put shots in there that normally wouldn’t belong in an animated movie — not a Western animated movie. Just shots of odd corners of the world that are kind of run down. Not necessary, but they kind of create atmosphere. We love that kind of vibe. Early on, Chris had tried a little bit of [composer] Jon Brion’s music [as a temp score] — and it had that same kind of slightly off-beat vibe to it, and we wanted to have that vibe to this world at the beginning. Then when we introduce the fantasy elements, it’s a real contrast."

"I’m going to go with All That Jazz for number one. It’s Bob Fosse directing a movie about himself; he changed the name to Joe Gideon from Bob Fosse. So he’s directing a movie about a musical choreographer/director who takes too many pills, sleeps with too many women, drinks too much; he’s a moviemaker who’s editing a movie while he’s doing a play and having hallucinations with musicals. It’s so unbelievable how he balances it all, and it’s Roy Scheider’s best performance, I think, ever. He’s amazing in it. It is so amazing. He’s a pretty despicable guy in the movie — I mean, he sleeps around on his girlfriend — but you love him. The doctors tell him not to take his drugs, but he does it anyway, and you still love him. You don’t blame him. And it’s sort of how Bob Fosse ended up dying, so he really forecasted his own death. I mean, he even put his girlfriend in the movie as his girlfriend — Joe Gideon’s girlfriend — and then cheated on her! Like, he had his character cheat on her. It’s so f***ing unbelievable. Just brilliant. That’s number one. That would be my, I have to say, overall all-time favorite. I’m just very impressed by that movie. It’s just really, really good. It’s got like four musical numbers in there, but they’re not like Glee. Some of them are in drug-induced hallucinations, and some of them are, he’s actually directing a musical. I’ve done plays; I’ve done one musical. But the first table read, when they’re going to put up this play, it is so like the table read on plays. I recognize so many things that they get right. Yeah, that’s my all-time favorite."

"In the past year or two I’ve really been getting into more electronic music, and finding there’s so many subgenres! I’ve found this niche of really melodic electronic music, like Jamie xx and Jon Hopkins, and I just found it so soulful – it gives you this energy at the same time. That’s really opened a world up for me, ‘cause I always assumed electronic music couldn’t be as musical! Hearing this new sound, and these new methods of being musical through newer instruments, I was like, ‘wow!’ You can really reach that point of emotion in such a different, more energetic way. ""I just love this song. It’s a masterpiece, and I love the video as well. Learning about production a lot on this last album, it’s such a skill to let each element shine through and complement one another. The main thing for me is that simple line that comes in – a synth or something – halfway through, and the way everything builds. It’s like a symphony, really. Ever piece has been so considering in the song, and has such an emotional impact. It changes one note, and you’re sucked into a deeper level of emotion of the song. It’s effortlessly epic! ""I’ve used 'Gosh' so many times to warm up before a show, to get in a very focussed sense before a performance or doing anything high-pressure. It’s definitely our tour song. It has so many emotional memories for everyone that was on tour – our cameraman had to go ‘cause his first son was about to be born, so we played that song for him when he left. It’s never got boring to me, and I think I’ve rinsed it for about two years now! It’s never lost its magic. It just gives me life every time I hear it."

"I can’t really remember when I first heard this song, it was probably on tour at some point with Supergrass, but I heard it again a year or so ago on the radio on 6 Music and I remembered what a cool song it was - ‘Oh fuck yes, I know that track, I’m going to listen to it again.’ I heard The Fire Engines on 6 Music recently, their song ‘Big Gold Dream’ and again I remember hearing that over the years and thinking ‘fuck, that’s really cool’, it really reminded me of early Supergrass as well and then you hear the new wave punk thing and all the bands that The Fire Engines must have inspired. “We Did It Again’ satisfies that whole kind of throwaway feel to a song. I love the beat of this and the pace of the track. It’s my kind of drumbeat as well, that motoring, 1974 German drumbeat. I’m not really a big Soft Machine fan to be honest, I haven’t got loads of their records, but I really like the vibe of this. “I think it’s inspiring in terms of way that it sounds and a repetitive lyric is always good, I always love a repetitive lyric. It’s the attitude of track, that’s another thing that jumps out at me when I hear something, the attitude. This is kind of irreverent and offhand and I like things when they’re throwaway. They’re not throwaway in the sense that they’ve not been worked on a lot, but this is a great one for me in that if you can deliver something that you’ve worked on and it’s finessed but it sounds a bit throwaway, I think that’s a great combo."