"In the same [kin] as Ordinary People, I have to throw All the President’s Men in there, which is a completely different film for Redford to do, but probably one of the greatest journalism films of all time. There are so many elements to that film that are unique to it. The relationship between [Bob] Woodward and [Carl] Bernstein, the way those are portrayed, and then just the whole mystery of the Watergate being spilled out for us. When that happened, I was… I don’t remember, I must have been three or four, five. Those were the years — that was the first time I can remember in my lifetime of something going on politically, and so I actually have memory of that time. And I don’t remember what it was, but I remember the words “Watergate” meaning something. Meaning something big, even though I didn’t understand what they were. Just for that film to be so dialogue heavy, and so all about performance, and the written word, it is one of the most on-the-edge-of-your-seat thrillers that I can think of that is pretty powerful… It’s the most riveting film about people who sit down and type, you know what I mean? You can imagine, it’s pretty intense."

"This album was a statement – here we are, Deep Purple. I think it changed a lot of musicians and the way they looked at music, in the same way Zeppelin did. But this rang British bells. They had other great albums, but this was the first one I got into – it’s great from beginning to end. Before this line-up, with Ian Gillan, they weren’t so heavy, then they went funky with Glenn Hughes, because he was a big R&B singer, though David Coverdale’s singing was brilliant. Come Taste the Band was when it went truly funky, after Ritchie Blackmore left. We toured with Blackmore in Rainbow a few times – nice guy one minute, then the next he could be odd. Once, someone threw a lighter on stage and he walked off and went back to the hotel. Other times he would play all night. He was very moody. First time we played with them was Donnington but we didn’t have much to do with them. One time we toured with them we did two shows and went down really well and they kicked us off – we turned up at Wembley for the next show and the gates were closed and we were told to go home."

"The first half is just an astonishing rundown, it's almost like a greatest hits. This record, and Kate Bush in general, has a lot to do with me making music at all. It was her complete inability to do what everybody else was doing, she just was a law unto herself. I found that incredibly awe-inspiring, in most ways. I also loved her use of strings, in a sort of choppy choppy way, rather than a sentimental way. In pop music, you tend to have strings just colouring in the chords at the back or doing a syrupy high note, and I always thought they could do more than that, and she proved it in a kind of [mimics heavy staccato strings] kind of baroque style, which I have shamelessly pilfered basically. The second half she goes off on one, and some of it's a bit silly, but, you know, who cares? Even when it's silly it's great. Now I'm pretty sure I just took one listen to 'Running Up That Hill', which would've been the first single, and thought, ""I'm having that"". I would've bought it on cassette because that was the era, and I probably wore out the cassette until it warbled and I had to buy a new one!"

"I found Devin when he was around seventeen years old and I needed a singer for my band. So when I heard tapes of him singing I thought there was really something there but the music he was playing was bizarre; it was really heavy and industrial and I thought, “It’s really good but I’m not supposed to like this because I like this…” But when he was working with me the poor guy was stuck under my thumb because my music is not a democracy, it’s a dictatorship. I want things a certain way. Devin wasn’t writing at that time but when he went off and did his own thing and when he did… I’m going to use the ‘G’ word here… I think he’s a genius, I really do. He’s so passionate, so intense and – at times – so tormented, but there’s this redeeming quality of deep, deep beauty about everything he does. I think that in the future when people evolve, if they go back and actually listen to musicians of the past, when it comes to metal, he should be number one. There’s stuff in his catalogue that nobody else would have the balls to venture into."

"I can’t explain this movie. It’s just perfection. Sad and funny, light and heavy, full of boisterous color and nonstop singing. Probably the most romantic movie I have ever seen. Catherine Deneuve has never been so lovely. I have never been to France, but I imagine it is just like it is depicted here. Maybe I will never go so I can keep my fantasy and save myself from disappointment. Jacques Demy was a singular talent. There was never anyone like him and there never will be again. I highly recommend the entire box set of his work, but this one will always be my favorite. I remember seeing it on the big screen at the Music Box in Chicago in the early nineties and walking out on clouds while also being filled with an intense melancholy. I can’t think of a single other movie that makes me feel both of those things at the same time and has left those feelings lingering inside me twenty-plus years later. Michel Legrand’s score is, it goes without saying, iconic and magnificent. And what this movie lacks in dancing, Demy makes up for in his constant gliding camera movements. As if the dance is between the actors and his lens. Pure cinema. Perfection."