"I lived a stone's throw from Penny Lane, and my sister had Beatles wallpaper, my brother had a plastic Beatles wig and Beatles cap, and they were older than me, and my auntie Kathleen - who was a bit of a ... swinging sixties... a Liver bird, put it that way - came to live with us and she brought with her Sgt. Pepper's. She would go and see concerts like Gene Pitney at the Liverpool Empire and things like that. She was quite an interesting woman - to me anyway - and was great fun. I had one of those portable record players like you did in the 1960s, and I would play this over and over again while staring at the Peter Blake/Jann Howarth record sleeve, which made a 3D collage, and asking people ""who's this?"" and ""who is this?"". I've said it before, it was a bit like Dorothy opening the door of the house once it's arrived in Munchkinland, and everything goes technicolour from the black and white-ness of 1960s Liverpool. It was like a portal into things like the Hollywood musicals that I'd been seeing on the Saturday morning at the pictures. My auntie Kath would say, ""Ooh I saw The Beatles in the Liverpool passport office getting a passport while I was getting mine"" and my mum would go, ""I knew Julia when she used to look like Lucille Ball and she used to strut down the street"", and so it was Beatles saturation, living in that particular part of town. 'She's Leaving Home' on that album was the first song that made me cry, which I think is quite an important moment in your life, when a piece of music makes you cry. It was just the sadness of the story of a girl leaving home. Then of course there was 'Lucy In The Sky With Diamonds', 'A Day In The Life' and all those odd string arrangements. There was also the Magical Mystery Tour double EP in gatefold technicolour glory and things like that. It was like an entry into a world that was distant yet very close as well. It made me want to learn the lyrics to sing along and I guess it was just very important to me in my journey of music appreciation. And if you had the measles or chicken pox, you were quarantined to my sister's bedroom, and it was like a TARDIS of 'John Paul George Ringo' and it would drive you absolutely insane, as it was all you could read: 'John Paul George Ringo John Paul George Ringo John Paul George Ringo' and their smiling happy faces. It was kind of great and yet torturous at the same time. Pop torture."

"That’s my plane movie. Like, I’ve got it stored on my phone, and if I absolutely just need to just be on a plane, I’ll just put on Apocalypse Now. The mania and craziness that Colonel Kurtz is supposed to represent, and what the jungle in Cambodia is supposed to represent — knowing, by watching documentaries and reading about it, that that mania was not only present, it was prominent on set as they filmed this. Just all of that together. The movie itself is incredible, but the knowing of the making of the film, and what happened when they were making that film, knowing all of that just makes it a much more comprehensive experience. When Colonel Kurtz talks about the horror, and you know what horror he’s talking about, you just feel like you are let in. You’re gifted an audience into true craziness. Every single character in that movie is bats–t insane, and it’s just a matter of how forward it is. So I mean, even Robert Duvall saying, “There’s nothing like the smell of napalm in the morning,” and then taking a pause from it and going, “You know, one day this war is going to be over.” You can just feel how sad he is about that, and how crazy that is. And then you move on to the othercharacters, and then when they get to that farthest checkpoint where the bridge keeps getting knocked down, and he’s like, “Who’s in charge?” And the guy’s like, “S–t man, aren’t you?” No one knows what’s going on here. What does he say to the guy, Roach, the guy with the grenade launcher? “Do you know who’s in charge here, son?” And he just looks at him and he goes, “Yeah,” and then turns around and walks away. That’s when you know. You know who’s in charge? Craziness. The only thing that is in charge here is chaos. You can feel it, and I love it. And Lance, who’s tripping on acid, who’s standing on top of the bunker screaming, looking out, where Charlie is screaming back at him like, “F–k you, GI,” and he’s like, “Lance, get the f–k down!” But that’s the thing: Lance is all of us. That’s what I feel about that movie. He first gets up and he’s just like the good old surfer dude who’s just there and serving his thing, doing what he has to, and in the presence of all of that craziness, he is so affected by it. He’s like the frog slowly boiled in water. To the end, where you get there and he’s ready, he’s primed for the gospel of Kurtz, and he’s just there, and that would be all of us. That’s the experience that so many people had in that war."