"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."

"[Laughs.] They’re classic, I know — I’m not really picking ’em deep from my quiver — but I’ll go with The Godfather. I can watch it any day, any time. The original Godfather. The sequels were good, but the original Godfather was masterfully done. All those characters who you come to know; 30 years later you still talk about Sonny Corleone. It really sticks with you. It just felt so real. I’d read the book before I saw the movie, and usually when you read a book and then see the movie you say, “Eh, the movie didn’t live up to it,” but on that one I really think that [Coppola] captured it. Just a powerful, powerful story. And it felt real. I’m not really a fan of violence, but in that movie it didn’t bother me in the least — because none of it felt gratuitous, like they were just doing it for effect. I really believed it was the lives that those guys lived. I really thought it was just a beautiful movie. All those tremendous actors in it, too — years later, you realize he did a pretty nice job of casting it."

"I love Roy Wood. Once again, we're talking about songs. He couldn't be constrained; he had to be different. He wouldn't just grow his hair and look like a troll, he'd dye it purple. He'd always take things one step too far. We worked with him, playing at Irving Plaza in New York, and we told him we'd had a hit with 'California Man'. "Well, I want to do my version." Hell, do our version! Roy was obtuse, while Jeff Lynne was more of a rocksteady kind of guy, which I think is why Jeff ended up being more successful, because they're both talented beyond belief. Two guys from Birmingham: "Let's work together!" The next day: "Maybe not such a great idea!" Because Roy would want to have 80 saxophonists, and they'd have to be girls. The difference between Roy and Jeff is that Jeff would want to have a band who could get out there every weekend. Roy's his own worst enemy: he's the most underappreciated of the pop geniuses, but not by me. But if he were any more successful he'd never talk to me."

"[Sidney] Lumet, Dog Day Afternoon. I mean, I don’t know what there is to say about Al Pacino’s performance as John Wojtowicz. But it’s a really complicated, really emotionally messy, but driven performance. Now there’s a documentary about the real guy called “something” Dog; I forgot the name of it [editor’s note: it’s The Dog], but the doc is just as much worth seeking out. It’s almost kind of neat to see it after you watch the movie. But the way that Dog Day Afternoon unfolds almost in real time over the course of one day in Brooklyn. And the John Cazale character. First of all, it’s just a beautiful portrait of an outlier community. The homosexual community at a specific time in New York, and that niche, there were these tough guys. They were going to do anything for their dream, anything – rob a bank. But nothing they do goes right. But watching him get wrapped up in his own ego and the drama of it and the romance; it’s one of the most romantic movies I’ve ever seen. It’s a really, really beautiful film, but it’s devastating. It’s also a very regional film. I love it."