"That was the first record that Jaye ever played to me when we met. It was surprise. This is a girl who ran away from home at age 14 to Alphabet City in the eighties, lived in a squat there, was into the hardcore scene so went out with one of the biggest hardcore guys in a band so no-one would beat her up or touch her, and yet she loved sixties psychedelic music. The Electric Prunes, The Zombies… Eventually The Zombies reformed to do one gig in New York, in this little club, so I got tickets, and they were spot-on. They did Odessey And Oracle, and afterwards I introduced her to The Zombies and they signed her album. It’s an excellent album. The harmonies and Colin Blunstone’s voice are stunning. That voice with the hissing in it. We had this friend, who did a lot of co-production on early Psychic TV, and he said my voice took to tape really well because it had this hiss in it. Apparently, it gave more resonance, so I accidentally have the same sort of resonances as Blunstone. Sadly, not the same voice or skill!"

"The Blues Brothers was a big movie for me, because I was about 13 to 14 years old, and it was my first introduction to James Brown, my first introduction to Aretha Franklin. I knew about Murph and the Magic Tones, which was made up of Booker T and the MGs, essentially. Steve Cropper and “Duck” Dunn, the two guys in there, they were two members of Booker T and the MGs, and then the drummer, you know, he’s got one of my favorite lines in movie history; his name’s Willie Hall. There’s this great line where Willie Hall goes, “Jake, Elwood, you’re out of prison, things are lookin’ good for you. You got the money you owe us, mother f***er?” That’s Willie Hall. He actually plays at my kids’ birthday parties here in Memphis, Tennessee. But, it was a movie that just had the… I mean, my dad and I watched that, and the whole scene where the nun is just beating them up; I’ve never seen my dad laugh so hard. It’s an electrifying, fun movie, and Steven Spielberg makes a cameo at the end of it."

"I always defend this movie. Some people hate it. I love it, although I am not in a rush to watch the first half again… There is a scene near the end of the film where it is just Monica Bellucci and Vincent Cassel lounging around their apartment. One of those lazy days you have with a partner. They were a real life couple and that chemistry shoots through to the film. You can tell they are madly in love. I always break into tears at this moment. It puts everything you’ve seen prior into heartbreaking context. The film is a tragedy told in reverse. I think it’s brilliant because by the design of its structure, it makes you think about the tragedy more than if you were just experiencing it in chronological order. Instead of getting to the end of the film and rooting for our protagonist to bash this guys head in, we get to the end of the film and think about how pointless all that pain and violence was and how heartbreaking it is that the violence destroyed this pure love."

"Casablanca. You see, Casablanca remind me what we have within The Room, some of the phrases. For example, I say, “Oh, you make my day,” or, “You are tearing me apart,” or whatever. I’m talking about the other movie as well, just paraphrasing some of those phrases. You see, The Room, people never give us credit, okay? And now everything turn around because people now, and especially the critic, which can be very tough as you probably… Including your company. But, again, let me explain something here. Hopefully you guys print this. Please don’t misquote me, but it’s nothing wrong to criticize anyone, included film, play, whatever. But it is wrong when people started doing not just a critique but get into sort of hatred mode. You know what I’m saying? So I think it’s very important to understand the structure what I present, related to The Room now, I presented 14 years ago, based on my vision, which people did not expect it, this kind of vision, because it was, basically, it was different cookie cutter from Hollywood. I said this many times, but as you know, I’ve been ignored but fans embrace that."

"I love the production, how they orchestrated those grooves. And Bernard Edwards was a genius bass player, how he came up with that riff that's so often copied. Again, it was just their interpretation of black American funk music. Those guys were supposed to produce the fourth [Gang Of Four] album. And I'd met with him, Bernard Edwards; by the time we'd got to the fourth album, he had died at that point. But I'd met with Nile Rodgers a couple of times, talking about doing a Gang Of Four record. And while that process was going on, Bowie's Let's Dance came out. So not unreasonably they asked for an extra per cent or something, you know, because their stock had just gone up a lot, which I thought was to be expected. But my manager said, ""Oh, we can't do that"", and I feel fairly confident that he was taking a backhander from the people who did do it in the end. I think Hard could have been great. As it was, there were some great songs on that album, but the production doesn't quite get it right."

"If you were an American kid, then Aerosmith was a huge influence. They were probably what T Rex was to the English fans - whether you were a punk or a metaller, anything, Aerosmith was cool. I’m choosing Toys In The Attic just because it’s a great entry level album for someone checking out Aerosmith. They did this tour a few years ago where they just played stuff from the early records and, fuck, the songs were good. And I just saw them again with my wife, Mike from Pearl jam and his wife, and it was great; there were mistakes and they jammed and there was no... you know, maybe they went through a time where they were playing too many ballads, but there was none of that and even the mistakes made it seem more real. I mean how do you write songs like that? Mike and I went backstage to meet Joe Perry and we’re still those young American kids we used to be when we meet the band. I mean, what do you say to Joe Perry? Those guys are classic, every guy has their own thing."

"I love it because I feel like I’ve got an insight of what my dad was kind of like. Also, in the movie I did with [director Richard Linklater — Everybody Wants Some!!] too, it was just cool to see this is kind of — like, my dad could’ve been one of these guys easily. It just shows that nothing’s changed. You’re relating to your parents — or any generation really — without having to be in front of them. It’s a really cool time-travelling-of-the-soul type of movie, which I really dig. It really holds up. It’s timeless. It sounds cliché — saying “timeless” — because that’s what I’m going to say about every single one of these movies, but the thing that’s cool about that is that there’s nothing close to what I’ve experienced. I didn’t have the same hair. I didn’t have the same music. I didn’t have the same clothes. I didn’t have the same kind of approach to anything, really, but I feel like I’ve been there still. That’s really cool when a movie can do that. You can see behind the mask and everybody can still relate. It’s really cool, and that movie does that."

"I've heard their new album about six times on our trips together and I don't think I've embraced it as much [as Smile], 'cos it's got a more 80s sound. It helps that I'm not sure what these guys are singing about. It's not music that could have been done by an American group. I like the fact that it's done by these fucking drugged out Japanese dudes. There's probably something in one of those eight minute long jams that I picked out and thought 'Oh yeah! Cool! Let's hear that again'. There's something about these long passages that aren't going to tell you a story, it's not going to tell you an answer, it's not about a melodic piece playing out. It's just holding you out there on the edge, like, what's happening next? I don't know, I don't know. There's a lot of music doesn't mean anything, so it just spins my mind where I'm not thinking about anything. That's a great druggy calling that their music has for me. It suspends you, and you're free - you're just listening to Boris. That's the only thing in your world at the time."