"It’s such a leftfield film for someone like me, but what is has is a very clear plot and it has two people trapped together inextricably. But what it does so well is that you laugh, you feel embarrassed, and then at the end — I cry my eyes out at the end of that film. Even thinking about it makes me upset. When Steve Martin is on the tube and John Candy gets off and he’s standing with his bag and he realises there is no one. It’s just such a beautiful thing. You can clearly see from Midnight Cowboy and Planes, Trains that there’s a pattern with me, and it’s really about loving other men – in a non-sexual way. It’s such a big thing for me — I value my friendships with my male friends. I’ve got a fiancé as well, and she’s certainly part of the action, but it’s a very different thing and you can’t get the same sort of friendship with a woman that you can with a man. And interestingly the filmmaking in Planes, Trains isn’t great. It looks so bad, it’s really televisual, but it’s got massive heart. ”"

"""I first got a copy of Raw Power in high school, so this was my first exposure to Iggy and The Stooges. At that point, I was more familiar with the more overt versions of punk, like the Sex Pistols or The Banned, and as much as I knew that The Stooges were punk rock they just weren't described in those terms, and that felt about right. They somehow felt more sensual - they were harder to define. It seemed as if they were teetering on the edge of something the whole time. "This song is a perfect example of that. Is it a ballad? Is it a rock song? Is it a soul screamer kind of thing? Really, it's all of those and it says a lot about my limited understanding of the style at the time that it didn't sound like punk to me when I first heard it. It's maybe the most feminine, least male-aggressive track on there. It's not 'Search and Destroy', and it's not ‘Your Pretty Face Is Going to Hell'. I mean, he's saying ""penetrate me!"" It's my favourite song on that record."