"Number three is What’s Up, doc?. Peter Bogdanovich directed. It’s his homage to Keystone Kops-type slapstick comedy movies. No, it’s not Keystone Kops; he does have Keystone Kops moments, but it’s… Not a slapstick movie; it’s called something else. They were really popular at one time, with like Cary Grant and Katharine Hepburn."

"Kubrick has always been my keystone filmmaker. It was when I saw 2001 at age seven on opening weekend in New York that I first had my mind blown by a film. (And yes, I got to see the infamous nineteen minutes before they were cut!) I didn’t understand it, but I became obsessed with understanding it, dragging my poor dad back to it over and over. It changed my life . . . and I still have the Criterion laserdisc—my first Criterion purchase. The extras on the LD were—and still are—extraordinary, even if the picture quality has long been surpassed on Blu-ray. This film is why I’ve kept my rickety laserdisc player. (I’d love to see Criterion get ahold of 2001 again and what they could do with this greatest of all science-fiction films with modern 4K technology.) Paths of Glory was the second Kubrick film I saw, a couple of years later, when my dad took me to a revival house (I think it was the Carnegie Hall Cinema). He loved the film and its unflinching, humanist, antiwar stance, and it immediately became a huge touchstone for me. Its influence is all over my film A Midnight Clear, but I see it in other ways in almost everything I do. I was so excited when the Blu-ray was announced that I ordered two, so I could store one as a backup in case—God forbid—anything happened to my first copy and the disc went out of print."

"""It was a more intense injection of it. That was the second solo album, before the second Wu Tang album, and you can still hear that hunger in RZA's production. It's even more intense and claustrophobic. I didn't buy this album until six years after I discovered the Wu Tang, and it threw me again, I was obsessed with it. I used to have it on in the car all the time and I would stop it and go back to a little bit, then stop it and go back to another little bit, thinking about how I could replicate that, because it was so good. This was well after I came up with Sleaford Mods, just before I met Andrew. It was still so mind blowing. There was a theme to it, they always used to bang on about how it was a concept but I never got that. 'Guillotine' was my favourite one off it, and also 'Incarcerated Scarfaces'. The first one has this Keystone Cop kind of beat. It's bizarre, there's almost an Irish thing to that. It was east coast, you've got a lot of Irish immigrants there, so it must have spread through the culture. I used samples for the first four albums, or tried to, but I don't do it any more. It was just so tired to me, I'd rather leave sampling to those classic albums than flog a dead horse, you know. I was aware of the fact that it was an uphill battle trying to get clearance for stuff, but after three or four albums I was also getting bored of it, trying to find a loop off a great track. It didn't matter how obscure it was or how obscure the approach was, it just bored me and I needed something more home grown."""