"If I had to do my top 100 movies I think 15 to 20 of them would be Woody Allen movies. This is the toughest one for me to do because the instinct is to say Annie Hall, because it’s undeniably, I think, perfect — in terms of comedy, romantic comedy specifically. It’s one that, the older I get, I feel like I continue to grow with, and I check in with it every once in a while. Depending on where I am in my life and the relationships I’ve had, I can always glean something different from it or recognize some truth in it that I’ve experienced or yet to experience. It changes every time. If I were like an evangelical, crazy born-again it would be my Bible. It’s like having an old sage friend who you don’t see very often, who’s tremendously neurotic. I also relate to him so much just as a neurotic and an over-analyzer. I fell in love with him in junior high school when, you know, you’re going through your formative years and you’re realizing certain qualities about yourself. So when I was introduced to Woody Allen it was such a relief. He made me feel like it was okay; not only could I function with neuroses but I could thrive. And certainly with women you go through so many relationship questions and struggles and it’s just nice to know someone can take all of that and create entertainment and mine those life transitions for such comedy. There’s a lot of solace in that. But I also love him on a simple comedy level — I almost love his physical comedy and his slapstick as much. So if I had to pick just one, I would say “Every movie he made in the ’70s.” [laughs]"

"I grew up with a lot of my dad's reggae records. I used to always buy the compilations, the Reggae Hits volumes, Ragga Ragga Ragga! We always listened to music in the car and “Murder She Wrote” really captured everything that was great about ‘90s dancehall music. The melodies were right, the emceeing was just the right tone, and the beat itself was of an era of dancehall that I loved so much, from listening to sound systems like Kilimanjaro and Addis. “What I've really enjoyed, having been in this for a minute now, is to see how styles and trends and music are cyclical. I used to think all that was BS; “Oh yeah, don't worry, this is gonna come back round”, but when I start to think, I guess it was around 2015 that there was this new sound everyone was talking about called 'Afrobeats'. I was like “Let's check this out” and to me it's ‘90s dancehall with a twist. You know what I mean? And now we've got Diadora, Kappa, Fila, all these brands that kind of had a moment, and all of a sudden it's retro, it's vintage. It's like “Wow, this is happening in front of my face.” “So to have that wisdom of what those songs were about is exciting for me. I can go in the studio and I can draw samples from a ‘90s dancehall tune, that, if you didn't grow up during that time might be lost in the vaults, because you wouldn't even know about Jigsy King, Sanchez, Beres Hammond and old school dub reggae. “Now I can pull out my tracksuit and people are like 'Mate, where'd you get that?' and I'm like '1990', this is real vintage coming out my mum's cupboard."

"It's a brilliant album. What's not to like? It's universally loved and accepted as an album, as a collection of music. When you're a kid you listen to Beastie Boys because you like to sing '(You Gotta) Fight For Your Right (To Party)' because it's silly and fun but Paul's Boutique is sophisticated and mature, as well as being really musical, which I really like about it. And long before I had any awareness of what sampling was, all the different bits that they use I was always curious about what they were. I always knew they were from other songs, because some of them I recognised. But it was super fascinating to me. I was already in love with New York and the idea of moving to New York. And in my adolescent fantasy I thought: ""I'm going to graduate high school, I'm going to move out of the house, I'm going to move straight to New York, and then maybe, one day, I'll get to meet one of the Beastie Boys."" And now I've met all of them! James [Murphy] is really good friends with Ad-Rock and he'd be at the studio with us and I'd go there and be with Adam, and eat pizza with Adam. It was so bizarre because 15-year-old me was losing her mind but I had to be cool. But also it was totally normal because he's just a normal guy and he's hanging out with my friend who's just a normal guy and they're doing normal stuff. But no matter how many times I meet them or see them I've never stopped being star-struck. I have to stop myself falling apart."

"I was into so much stuff around this time. It was 1981 and I was 12, turning 13 at the end of the year. I loved Duran Duran and Associates, 2 Tone stuff, ABC, The Jam... it didn't really matter then. You didn't have to be part of any tribe. We had them, but we never called them mods or rockers or whatever. We had the Sweats - they were the heavy guys who used to sit in a circle and smoke dope on the school field. They liked Motörhead and they all stank of patchouli oil. But they were all very friendly. Then there the Smoothies - they were more like mods really. Very tidy and neat, with these wedge haircuts. But I could never really do that. I could be one thing one day, and something else the next. I liked 'Ace Of Spades' at the same time as liking 'Planet Earth'. It was all the same thing. I remember being in class and we were all talking about 'Love Action', and singing the middle bit - "I believe, I believe what the old man says...", which I thought was profoundly wise at the time. It's still pretty good. I like the line, "I believe in truth/ Though I lie a lot." The noises in the intro really intrigued me. And for a while I did put the air guitar down and get my mum's ironing board out and play the synths on that. The music's quite cold - it's quite a cold groove for a love song. And it is a love song. His voice is kind of warm, but he's got such authority - you believe everything he's singing. At the end of that year, when Dare came out, everybody had it. It was great."