"I used to love the Sugarcubes, and then her debut album came out and I thought it was alright, I was going for different things and locked into Suede so wasn't really receptive to it. Then she gradually filtered through to me. Homogenic won out over Vespertine because of a few songs, like 'Jóga'. It's so beautiful, so atmospheric. There are few people that I actually listen to and am not a little disappointed by, or think I could do that. With her, it's, 'Woah.' She's one of those people who make music that I actually marvel at, I really do. She's incredibly talented. For me she's one of the few modern artists who are actually up there with the all-time greats. The music industry has to say that all these people are comparable to so and so, but she really is. Something like Biophilia suits her and suits her music. The music is intelligent for a start, but that really suits her sense of vision."

"It’s so good—so subtle, truthful, and simple. This movie allows you to just look at human beings as human beings for a second. Wong Kar-wai is a master, and I have an admiration for his ability to direct your attention to certain things but not in an obvious way. I got to see Asian people as real people who could be flawed and make choices that are selfish and don’t take into account social graces all the time. Being raised in a very Christian, traditional Korean household, you’re kind of just seeing the surface and what you’re supposed to be at all times. I remember growing up thinking all Korean people were church deacons, and then you see a Korean man driving a taxi and all of a sudden you’re like, what’s going on? This doesn’t make sense to me! Wong’s films are like traveling to Hong Kong without going to Hong Kong."

"People forget how revolutionary they were at the time. I remember seeing them in town when they were a 'goth' band. They weren’t really but they had that goth on guitar [Andy Couzens]. People think of them now about the way they look and everything but they were the last people in Manchester to start dressing like that. Everybody else in Manchester already looked like that. But really, when this album came out after all the trouble they had it was just perfect. When you got to hear the full version of 'I Am The Resurrection', it was just perfect. Ian had the image and he was a great frontman, Reni and Mani were like the tightest rhythm section ever. And John was a great guitarist yeah, but he was also in charge of this amazing sleeve art and this look that was really important to them and was different to anything else that was going on as well."

"PlayTime is an incredible film. I just love the idea of staging scenes that look familiar but don’t function as the scenes we imagined them to be. And I like that he was fascinated with the mundane. So there’s an airport setting and there are people wearing uniforms and people that look like passengers waiting, and there are scenes occurring, but it’s just the form of a scene that you have seen in some way many times. The way he mixed sounds, where the background noise was louder than the dialogue—having that buried in the background when people spoke is just really brilliant filmmaking. I love the recontextualization. And it’s a masterpiece, with long, huge, choreographed shots of all these entrances and exits and things happening in the background and foreground. So where you’re placing your attention has been subverted so you don’t quite know what you’re looking at or what to look at. And that is incredibly impressive and very inspirational."

"The way their styles went back and forth was some sick street shit. Their beats were ill and they had like a slur, a slang style going on that resonated with so many people on the street. When I first heard 'You're A Customer' I was hooked; every single record was so tight and so completely banging. I think they had four or five gold records in a straight row which was such an incredible achievement. They were on some ill roll that just continued. They also listened to the dopest shit too and you could tell that from listening to their music. As well as being influenced by so much themselves, they influenced a lot of people too. Bands like us, Public Enemy, Run-D.M.C were just talking about EPMD so much. Back then, you had to make music that sounded real because if you didn't, people just saw straight through that shit. Most motherfuckers didn't make it but then artists like EPMD showed you how."