"The first two, I’m gonna go with Elia Kazan, ’cause they’re really the reason why I became an actor in movies. East of Eden, with James Dean, and A Streetcar Named Desire, with Vivien Leigh and Marlon Brando. The performance by James Dean — the scene specifically where he tries to give his father, played by Raymond Massey, the money from selling the beans on his birthday, and he’s rejected — it broke my heart; it was not like anything I’d experienced before, in terms of art, and I’d seen a lot of movies at that point. I was 15, and I’d seen Bergman’s Seventh Seal and Fellini’s Juliet of the Spirits and Welles’ Citizen Kane — great films, but when I saw Dean in that, it really put the hook in me because I felt like him and I knew then the power of film acting, and I knew then what I wanted to be, what I wanted to do to try to move people with motion pictures. So that’s why I have to put that on the list."

"For Charlie Chaplin to have the kid be this thing that kind of gives him purpose and some kind of integrity, I think that was great. It’s a very emotional and melodramatic subject and only someone like Charlie Chaplin was able to make it whimsical and funny, but also so heartfelt and sincere. So I’ve always loved The Kid. Absolute genius. I feel like he wouldn’t have gotten there if not for his vaudeville years. Every now and then I like to read up on his life as a teenager before he got to Hollywood, and the fact that he came from nothing. He came into an empire with talent. He had nothing and he had nothing to lose, therefore he gave it all. I was watching Benny and Joon last week and what Johnny Depp was doing reminded me of the essence of Chaplin: he was so light but you understood that deep down in inside of him there was this really profound and emotional man. I feel like Charlie did that with a lot of his characters."

"One movie that has always resonated with me is The Terminator. [laughs] I just loved it. Maybe it’s the fact that I was five when I saw this movie, so I was very overwhelmed by it. I felt the passion between these two individuals. I saw the strength of a woman. From the music, the robots, the technology… that movie was big because I saw it through the eyes of a five-year-old. I’m not gonna judge Terminator now that I’m 32, because obviously I’m gonna have a different take. I’ve evolved, I’ve seen different things, and life and technology and the way we see films has evolved, so it wouldn’t be fair to what Terminator represented when I was five. But that essence will never die. Terminator was very impacting for me. It really helped me a lot, to understand the kind of actor I wanted to be, and also the kind of movies and genres that I gravitate towards and absolutely love. That movie, seeing it at that age, was amazing."

"In Talking Heads, the record collection was filled with Hamilton Bohannon, James Brown, Roxy Music, Funkadelic, and P-Funk, that whole world. George Clinton and his whole crazy P-Funk philosophy was great; they were doing these kind of spectacles. As we kept making records, they evolved into more rhythmic affairs, kind of weird, white-person funk. We decided that in order to represent this music live onstage, we needed to recruit some real funkers into the band. The size of the band pretty much doubled. It was a big, nervy thing to do, and it was a mess at first. But man, was it fun. In this period, I decided to formalize the tour into a show that became Stop Making Sense. And that was about as far as we could go with that idea. It liberated me musically, but also as a person. The music was a lot more ecstatic, almost trance-y; you could get lost in it, way more than you could when it’s just a four piece."

"Some of Dirty Projectors’ records were a little bit impenetrable, because Dave Longstreth obviously had some really crazy concepts. A whole record was about Don Henley. Then they moved into stuff that was still really innovative, but a lot easier to understand and enjoy, even if it had very eccentric meters and rhythms and melodies. I collaborated with Dirty Projectors on a couple songs for a charity record, and at our performance at Radio City Music Hall, I met Annie Clark [of St. Vincent], who I was a big fan of already. Then we crossed paths again at a show Björk did with Dirty Projectors at Housing Works [Bookstore in New York]. The Housing Works crew saw Annie and I enjoying the show, and they approached us about doing something together. The idea was that we would do it at the bookstore, which never happened. We certainly donated money to them, but by the time we did an album and tour together, it became a bigger thing than something we could do at Housing Works."

"It's just fucking mental! I saw it in the cinema at the time and I remember getting up to leave and then the hand coming out of the grave! So great. It goes back to what I was saying about a lot of teen films being about the different kid, who stands apart from their peers. That always resonated with me. I wasn't unpopular as a teenager, I was fine. I wasn't bullied or anything, but I did stand apart from my school mates, because I didn't want to go along with the peer culture in every single sense. I didn't like people telling me what to do, I was too independent. So films about outsiders are always tops in my book. And of course poor old Carrie is a text book example of evangelistic religiosity turning sour. It's the most amazing revenge film ever. I interviewed Kurt Cobain and he said 'I'm the guy that would be most likely to kill everyone at a high school dance' and I said, 'you mean like Carrie?' He really liked that."

"My favourite video of all time is actually for James Blake’s A Case Of You, the one that has Rebecca Hall in it – I can’t watch it without my entire body shaking. But, for what a video really, really should be, for pure Thriller-like entertainment value, you can’t get much better than the video by Macklemore and Ryan Lewis for Downtown. The dancing! The marching! The mopeds! The chariots! You have to give in to that video – how ridiculous it is. It played a lot with hip-hop culture – and I love hip-hop culture, I love the bigness, the grandness, the showing-off-ness of it, I appreciate it and I revel in it. But there’s something about these guys mocking the extravagance of it that I really responded to. It really made me laugh – I was in tears watching it. And actually I think you can see Macklemore pissing himself laughing at the end… Ryan Lewis, who produces the records, produced and directed the video. Epic."

"For me it could be every Kinks A-side from 1964 to 1969. Just an amazing run of the most fantastic pop songs. Village Green Preservation Society is obviously a great record, but Face To Face has some fabulous songs on it. It's almost a concept record. I don't think there's any lyrical theme to it, but it's very complete, which a lot of their records weren't before. What a writer, I can't say how much influence [Ray Davies] has had on me. The artistry of condensing all those ideas into a little three-minute song is just fantastic. I'm always still knocked out by that. When I was a kid and I first went to America, in the record shops you could buy all these old Kinks records, stuff I'd never seen or even heard of. So I came back with shitloads of Kinks records and that had a definite influence on [third Jam album] All Mod Cons. Those little story songs, vignettes of English life and English characters. That was a massive influence on me."