"Such a devastating and beautiful film. It’s interesting to see Amy Winehouse as a young girl with raw talent, and watch how, like a wave, she goes up and up and up and then crashes. As a viewer, you feel almost guilty to be watching her – she was watched enough – but this is a respectful portrait and I like that it celebrates her music. A lot of the time, in films about female artists, they only focus on the tragedy of their emotional lives and not enough about how amazing their craft was – and with this film you definitely get a sense of what an amazing singer and songwriter she was. She was much more than someone with addiction problems: she was a singular talent."

"It’s one of those things you discover when you’re old. It relates to you. The simplicity of existence, that’s what you get from the album. I love the cover of ‘Jesus, Etc’, which is one of my favourite ever songs by Wilco. The Bill Fay album had a bit of an influence on Rewind The Film, but a generation in front of us. Guy Massey who did that album mixed a lot of our record as well, we were looking for the woodiness of it, the authenticity. It’s not something you’re just born with. There’s such a fucking fragile “I’m barely here”-ness about it. It’s not very often I go for that, but with this album the more you play the deeper you get into it."

"One of my favorite films has always been Tootsie. I think I fell in love with New York and the romantic idea of being an actor from that movie. I saw it in a theater when I was really young and I don’t think I understood it all, but I remember people laughing so hard and I just knew I was watching a great movie. And all that stuff between Dustin Hoffman and Sydney Pollack is amazing. I revisit that movie a lot. I think, again it has that effect — it’s a very bittersweet movie, because it’s really funny but it also has those great sweet, honest moments. And it’s about a guy wearing a dress. I mean, it’s amazing that they pulled that movie off."

"When I was drawing up the list, I wanted to start with an album that had come out in the last few years. I had a long list, maybe 50 albums, and there were some recent albums and tracks I’ve liked in the last few months. But, when I’m saying these are my favourite 13 albums that matter the most, I realised there wasn’t anything much from the last 15 to 20 years, which is a little sad to me. There are albums that I love - don’t get me wrong. I nearly included a Daft Punk album, as they changed things a little and I played that a lot when it came out. I thought The Killers’ debut album was a good record."

"I had my operatic knowledge, and I had this interesting collection of artists I was dedicated to: Judy Garland, Nina Simone and so on – I could have put Nina Simone on this list – but this record by Bob Dylan was a way to relate to my parents a little bit. I wouldn't necessarily say I'm a huge Dylan fan, but I appreciate him, I understand his greatness, and it's really now that I'm starting to dig into his catalogue and cherish his existence. But in general, I'd say a lot of his recordings make me think of my dad – that's not the sexiest thing, but Blonde on Blonde broke through the barrier, and particularly the song 'I Want You' kept the thread going."

"It’s a two-disc of live performances. For the most part, I was never really a fan of live music on records, but this one takes all the Talking Heads songs and it totally improves them. You feel the beat more. It’s a solid buy. If you could just come up on that, the two discs are amazing. It’s almost 40 songs. Every single one of them is really rad. A lot of my music that I like puts energy in your body or makes you want to dance or break something or just go mosh or jump around. This is one of those ones that you can put on in the summertime and next thing you know, you’re dancing by the pool."

"Often, when I read filmmakers’ lists (including mine), I am frustrated by the absence of their contemporaries. The present is always the hardest to read, and no one will argue if you focus on masters of the past instead. But here are a few names, filmmakers whose work I have been lucky to follow since their beginnings; we’ve crossed paths, more or less frequently, but I have admired them constantly, also because they have been an inspiration. I feel I have had a dialogue with them, or with their films, and it is reflected in my own work. Edward Yang is gone, I miss him a lot, he invented modern Chinese cinema alongside Hou Hsiao-hsien, he was my friend."

"Often, when I read filmmakers’ lists (including mine), I am frustrated by the absence of their contemporaries. The present is always the hardest to read, and no one will argue if you focus on masters of the past instead. But here are a few names, filmmakers whose work I have been lucky to follow since their beginnings; we’ve crossed paths, more or less frequently, but I have admired them constantly, also because they have been an inspiration. I feel I have had a dialogue with them, or with their films, and it is reflected in my own work. Edward Yang is gone, I miss him a lot, he invented modern Chinese cinema alongside Hou Hsiao-hsien, he was my friend."

"Often, when I read filmmakers’ lists (including mine), I am frustrated by the absence of their contemporaries. The present is always the hardest to read, and no one will argue if you focus on masters of the past instead. But here are a few names, filmmakers whose work I have been lucky to follow since their beginnings; we’ve crossed paths, more or less frequently, but I have admired them constantly, also because they have been an inspiration. I feel I have had a dialogue with them, or with their films, and it is reflected in my own work. Edward Yang is gone, I miss him a lot, he invented modern Chinese cinema alongside Hou Hsiao-hsien, he was my friend."