"Star Wars, the first trilogy. Obviously Star Wars is one of the landmark films of all time, being ahead of its time with special effects — the overall scope and perspective of that film being what it was at that time; not to mention the ingenuity of the story line and the character development of all of those films. I really like the fact that not only are we dealing with great characters, great storylines, great special effects, and all of those things, there’s the extra added element of spirituality, which a lot of people seem to either not recognize or ignore. But the fact is you’re talking about the dark side of the Force and the light side and what’s good and evil, and the Emperor, and the politics; there’s a lot of politics involved. I think it’s a great reflection on life as a whole."

"Star Wars, the first trilogy. Obviously Star Wars is one of the landmark films of all time, being ahead of its time with special effects — the overall scope and perspective of that film being what it was at that time; not to mention the ingenuity of the story line and the character development of all of those films. I really like the fact that not only are we dealing with great characters, great storylines, great special effects, and all of those things, there’s the extra added element of spirituality, which a lot of people seem to either not recognize or ignore. But the fact is you’re talking about the dark side of the Force and the light side and what’s good and evil, and the Emperor, and the politics; there’s a lot of politics involved. I think it’s a great reflection on life as a whole."

"Escape From New York, because that’s the one that made me want to make movies. It was a fantasy world. It was like, “What? There’s a wall around New York? It’s a prison? You can do that? You can just make stuff like that up?” That’s a lot of freedom; I thought that was very freeing. I was twelve when I saw that, twelve or thirteen. And I saw that [John Carpenter] wrote it, directed it, and did the music, and I was just like, “This guy’s doing everything. You can do that?” It just felt like, it was so renegade. It was independently done, and it made me want to start making movies, and I started making movies from that point on. It was just very inspiring. I knew I had a lot of interest, and that made me… That was movie that just really marked my life."

"I got it and I burned it and listened to it on the plane a lot. That one, for her, it goes back to trying to play more old-style jazz and she's playing incredible piano on it and the drummer's incredible. It's just a sick record. When you listen to an incredible jazz record, it's just undeniable, nobody else can touch it, no white dude - and if they can, it's too schooled. That's why I like that one - I can reference the later, freer ones, but I listen to a lot of older records. There's obviously Love Supreme, but that's obviously a transitional record from [John Coltrane's] earlier ones, Soul Train and Giant Steps. This is more advanced than that: they're definitely alluding to older jazz and taking it to another place, but they never go too apeshit, they never start squealing, but that's a special record."

"A lot of record shops were closing around this time, and I won’t use the internet to buy them. The internet is for porno, encyclopedias, and video games, of which I waste an awful lot of time on. So I slowed down in the purchasing around here and went back to old stuff like Kate Bush. On “Wuthering Heights,” her voice is almost hysterical but always in her own register. I find it very soothing for her to be squealing away up there, it’s fantastic. She’s a gift. I love PJ Harvey too. That’s one very interesting woman who doesn’t play the sex category. She strides in there at the level of any man, and I’m really proud for her in that respect, because that’s really what we wanted in punk—we wanted girls to be the equal to the boys, and she carries that great tradition. "

"Saul from the Fat Whites has been playing this for me a lot while we made the Insecure Men record together. He told me about this music teacher in Scotland who made a band of his students to play his compositions, and how they made this album. It's magical. When we were working there was a lot of arguing over what we should listen to, but we always agreed on this, everyone's always happy. It's one of those albums that's gone in to the catalogue of records I can listen to when I'm dying and sick. It's so sweet and so beautiful and magical, it doesn't bother me at all, no matter what mood I'm in. I can be overly sensitive, and I don't always want to hear what someone's DJing, but if I'm trying to relax I can always put this on and find inner peace."

"I know a lot of people aren’t into Tango In The Night, but I think that’s because the production is really of-the-time, it’s very 80s sounding and I think it’s a CD-aware album. It’s not mastered in the same way that they used to do when cutting for vinyl. But there are some really amazing songs on it and I think that if it had been made in the 70s it would have been as big as Rumours. The 70s is all warm snares, and just duller and warmer in general. And there’s a lot more synthesizer work on Tango..., and I just think the songs are what count and they are easily up there. I think the synths are part of what has poisoned people’s minds to this particular album. Obviously Rumours is an all-time golden classic as well."