"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."

"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."

"This album was mixed by Kevin Shirley and I think he did an awesome job because you can hear John Bonham doing more than he did on recordings. I think that’s probably because of the way the songs were written, because after being on the road they’d developed the songs a bit and a lot of the things you listen out for, like the subtleties on the record, they exaggerate them and that goes from the drums right up to the singing. This is just one of those recordings where you can hear them exaggerating the things that people love about these songs and how they grew on the night into some kind of monster and the material went with it."

"Sometimes when the AirPods don't block everything out, or your on a plane, you really just want to shut the world off, I go with the Beats they keep it a little bit quiter. I got them without the cord, so I can just put them on, either just knock out on the plane, or just completely chill and relax. I actually do sometimes look forward to it, when I can just check out, you kinda live a life with a lot of craziness sometimes and those moments when you get to just relax and be in your own world are becoming more few and far between, so you learn to value that time, and these are a big part of that."

"Rushmore. That must come up a lot. But it’s funny, and I know that the movie Harold and Maude is probably a big influence on that; but I hadn’t seen that when I saw Rushmore. I hadn’t seen anything like it. It’s really funny. I think Wes Anderson is really hilarious and most people don’t notice, because of the style of the film. Grand Budapest Hotel, to me, was the funniest film of the year, but people saw it as an art film. I think I related to Max as well, because I grew up poor like he did, and when I went to University I did feel like I was kind of pretending of fitting in this world. I related to Max."

"One off the top of my head — I think a film that I have watched time and time again — and every time I watch it I feel that I kind of see something new. I love Notting Hill. It’s by Roger Michell. There’s sort of an English charm — [and] I’m English. There’s sort of that slight insight into the kind of acting world Julia Roberts is playing. The kind of celebrity — I suppose especially me being an actor — there’s a lot of relatable qualities about it. I have a huge entourage of people who are really far away from this industry. So, there’s a sort of connecting dots between myself and them — always sort of very similar to the the world Notting Hill is based in."