"I must have played this album a billion times. They're like a combination of some 70s cop movies from America with Animal from The Muppets playing drums. The drums on it are insane. It's just so distorted. I'd never heard drums like that on a record before. It's just that combination of things which should not work and things which not be regarded as being in good taste. The brass section is almost marching music and it's almost an anti-rock record, but you can't help but love it. Our friend Sam Dook plays guitar in the live band and we went to see them last time they played, at the Concorde in Brighton, and we got to meet yer man who was very gracious and really nice. I felt almost apologetic telling him how much I liked their debut album because I get so fed up with people telling me that they think Pink Flag is the best thing since sliced bread. I apologised to him as I said it, you know. Sometimes if you're a known person and you turn up to see someone live it can seem like you're just going along because we're all pals in show business and all that crap. I wanted to show him that I knew the music and I was really a fan. I played that record to death."

"I kind of think Fitzcarraldo. Cinephiles know it, but the new generation don’t really know that picture. It’s a flawed film but if you watch that and the companion making-of [Burden of Dreams]… there’s a great Criterion of it; it’s the one with Mick Jagger in it, when he started the film and had to pull out. What I love about this film is that it represents what I love about film making: The film is about a person who has an insane passion for art, to the extent that they drag a boat over a small isthmus to make money, but he’s making money to bring Caruso, the great Italian Opera singer, to build an opera house. But the backstory, with Klaus [Kinski], and the relationship between Klaus and [director] Werner [Herzog], is so fantastic a backstory. I mean, they try and kill each other. And I think the intense passion between actor and director is in the film. To me it’s kind of a package deal, this film. You have to involve yourself in the movie, but it’s really worth going beneath the film, up the jungle and into the psyche of the drama itself. Its companion film is one of my favorites of all-time, Apocalypse Now — and you can go on the same journey with that film."

"The Raid. Come on, man, THE RAID! It’s insane. I’m a fighter, and I love and grew up on fighting movies. I mean, Jet Li, Donnie Yen, those are my guys; Jean Claude Van-Damme, those are my guys. But this new cat, Iko Uwais, I mean, he’s fantastic. He is a great actor, but at the same time a great martial artist. They had so many great martial artists, so many great athletes, in this film, and what I loved about it was the raw nature in which they shot it. The fight scenes were done so well we believed all of it. You know, there’s not too many high-flying wire tricks. As a fighter I can appreciate when somebody does a scene so perfectly that it looks like a tangible fight, because I know what it’s like to be in the ring with somebody. First of all, fights don’t last that long, and when people fight there’s a lot more getting beat up and weary than we see often times in film. But this one made it so cool. I said, “Wow, here’s something that teaches me how to do this in a new way, something that teaches me how to perfect the idea of action.” I think it’s one of the best action films. Hands down."

"Just a preface: All of these are movies that I can’t escape. You know, there’s ones that you’re interested in, in the moment, because they’re inspiring you in certain ways. But these are ones that I’ve always kind of revisited and can always get something out of it. So Nashville is one of them. It’s such a world that I didn’t know about, and you have all of these insane concerts in real time with all of these people. All of these emotions and ideas all happening within the performances, and everything is happening almost at the same time. And I just kept sitting there, like, how did he do this? And it just kept happening, scene after scene. There’s this one scene that’s unbelievable, when Keith Carradine’s singing the “I’m Easy” song, and you literally see the same song affecting three different people in the audience, totally differently, at the same time. It’s literally one of the most incredible experiences I’ve had. And just going in to listen to these performances and then to recall these emotions that I never had before, but I feel like they’re mine, is incredible. And the sound in that movie is an achievement that I don’t even understand how they did it with the actual performances, the audience, whatever. Incredible."

"It’s a mad movie. It’s just insane. This was the first movie I remember having so many stars that I loved. My favorite scene is when the older woman realizes that her son-in-law lives close to the treasure, so she calls him up. I remember the phone ringing and ringing, and when they cut to her son, he’s with a girl in a bikini doing the twist to some song. And she has this disaffected look on her face, just staring into nothing. The son is in a ’50s-style bathing suit just jumping around her going, “Yeah. Go.” That moment is something I’ve put in theater pieces, and even when I go out and I’m on the dance floor, I think of that scene. So if that movie gave me anything, aside from the excitement of seeing all these awesome comedic actors, it was that moment. I love that old-style humor, you know, like Some Like It Hot, just over the top. I think comedy was done with a lot more class back then. And that was a crossover period. It’s hard to get that these days. Now it has to be cool. Back then it just had to be crazy and zany. That movie should be listed next to the definition of “zany” in the dictionary. “What is zany?” “Watch this movie.”"

"I'm still learning about Alice Coltrane; I can't really claim to know a lot about her. I've heard a lot of music from her - she did a lot of different things - but this is the first of hers that I really listened to. The first time I heard her, I was performing on this all-night radio show in LA and it took place in a church. After I'd performed, I lay down on this pew to sleep and the DJ played this record and I woke up and it just really hit me. It was the track 'Yamuna Tira Vihari' and I was like, ""Oh my god"". It was so immersive and a flood of light, and so ecstatic. I can hardly explain. I was delirious, almost. There were all these strings and an organ, I think, and then her voice chanting and it's so insane. I listen to it a lot. It's spiritual, I think - and I don't know anything about that aspect of it - but I listen to a lot of music in that way. I listen to a lot of early music and Renaissance music, a lot of choral stuff. You know that this is a spiritual record and you almost don't need to know about that aspect of it. It just gets you. But I think that's okay, I think you can do that."