"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."

"This album was massive for me. Still is. I first heard this on a cassette in the post from my brother with a note saying, "Demis Roussos on bass!" He put two tracks on there and they both blew my mind. I knew immediately I needed to find this record but was convinced it was incredibly obscure. A few weeks later, I was in this old drill hall in Falmouth that doubled up as a house-clearance furniture shop. Flicking through the records in there, between multiple copies of No Jacket Required and some Cornish male-voice choir stuff, there was 666. I bought it and raced home and was pretty pleased to hear it was a lot more bonkers than I could ever have imagined. This album is properly bonkers. The gatefold sleeve has a 2CV crashed into a wall; the music is so incredibly inspirational. As a piece of work it's outside of any frame of reference – it's like discovering a new colour or a new flavour. Every time I see a copy I have to buy it – I give it to anyone I know who doesn't have it yet."

"I’m taking you in a slightly different direction now, and I’m going to throw down Kathryn Bigelow’s The Hurt Locker. To me, as an actor, and as a lover and proponent of independent film, what Kathryn Bigelow and Jeremy Renner were able to do on a budget… The storytelling in this movie is sublime. I would have a hard time putting any performance by a male actor above the beautifully nuanced, incredibly layered performance that Jeremy Renner gives in this movie. Yes, he was nominated; I still don’t think he gets enough credit for this performance. Maybe it’s my place in life, maybe it’s the age I was when I saw the film, maybe it’s the fact that I’ve been frustrated with the lack of war films coming out at a time when America was at war and these stories needed to be told. I still feel like they need to be told and aren’t necessarily being told the right way. The Hurt Locker, to me, is as perfect a film as you can make. And Jeremy Renner, Anthony Mackie, Brian Geraghty — those three characters, gosh… That movie blows me away."