"The Deer Hunter. I think the subject matter was very interesting. The way Michael Cimino works, he just got so much out of his actors, especially De Niro, Walken, and John Cazale, even secondary characters like the French guy in the movie. I’ve probably seen the movie 30 times, and you’re just on the edge of your seat the whole time, you don’t know what’s going to happen next. I think the interesting relationship that Walken and De Niro had with Meryl Streep is very complex. Really great movies are made out of special moments, and there were just so many moments in the movie, like when Chris Walken broke down when they were asking him his family’s name while he’s sitting in the window. I always remember that. The way that Bobby De Niro went back to rescue his friend. I think the movie had a lot of layers and a lot of integrity, and I think the love these men had for one another was so real you could identify with it. It was like going back to get your brother, you know?"

"So much nuance but he always has clarity in all of his music. Kieran's at the top of his game. He's such an interesting producer. Everything he does has this clarity and it seems very simple. But it's not, he has such a highly sophisticated sense of what should go where. You feel like he really understands the world that he's created for himself and works in. So you just hear him having fun and placing things around and you inherently trust him with whatever he does. It's like a new journey every time. Honestly, what I say about Beautiful Rewind could probably be applied to a bunch of his records. That's the kind of thrilling thing with him. He's the master of his domain and it's exciting to hear him play inside of that sandbox. Such a fun record. Fun can mean a lot of different things and it hits you in a lot of different ways. But it's enjoyable to get into something steady, that's the pulse of his tracks that are dance orientated. The production of it and just the way that he thinks keeps your mind spinning. So it's always fun unpacking what he's presented."

"This one was one of my favorites because it was the opening track to The Rise & Fall Of Ziggy Stardust. What was wanted was a drum beat to introduce the song itself and to set an atmosphere for the whole album. The idea of the song is that the world is ending in five years, so it was about finding a drumbeat that got that across – which was quite a challenge! I remember going through drum rolls, cymbal crashes and I kind of thought: 'Well if it's the end of the world… I can't be bothered! Haha!' You wouldn't be excited and you wouldn't feel like doing a lot. So, that beat came out of sort of despair and apathy, and then when the band comes in and David starts singing, it just feels right. It felt like a really good beginning, so I was quite proud of that. I nailed the brief by all reports! It's been a lot of people's favorite bit of drumming, which is always nice to hear. They'll say: 'Oh when 'Five Years' starts, it gives my spine a tingle when I hear it!' Well my spine was tingling when I played it!"

"I heard that when it first came out in 2010. I've got it on CD. He was a member of the Flipmode Squad so he'd done his time already I think. He probably felt like an old bastard as well - he's probably older than me! You've got the obvious misogyny in there and there was lots of that, but there was this real interest in the history of the pimp, which is a controversial subject, but it's almost like he's done his research on it and looked at it in a political sense. It's not just blatant misogyny as well, but then it is, it swipes over to that, and then it swipes over to gang on the corner, shooting, drugs. I get the impression that a lot of the time this is stuff he has observed. A lot of the time, these rappers like Conway the Machine and West Side Gunn, used to be dealers but had to step out of it to go professional. So they have this whole memory bank of experiences to draw from and then in that environment it's probably very close to you."

"When I was a kid I heard all this strange electronic music that came from Germany on pirate radio and on the Peel show and it seemed like music from another planet and I wanted it. Then one afternoon I was listening to Radio 1 and Annie Nightingale played one whole side of Rubycon and it was life changing. I said to her, many years later, "that was incredible!" and she said, "oh John used to do that all the time, he was the first to do that." But it was like Annie became a pirate for one moment and took over the whole of Radio 1. That meant a lot. That was the spirit of making music to me. You do what feels right. If you want to play half an hour, you do it and accept the consequences but you have to do what the music tells you to do. Tangerine Dream made these extraordinary, electronic soundscapes. Is it an animal or is it a machine? Tangerine Dream crossed over that a lot. And then Annie played the entire side and blew my head."