"This was Roy’s first proper album, although he’d had an earlier, kind of homemade album. … Ghenghis Smith was, in the summer of 1968 after I’d already met Roy and knew a little bit about him by reputation, one of the first vinyl LPs I ever bought. I bought it in the first week I owned a vinyl player, by which time I was 21 years old, living in north London and had just begun with Jethro Tull. It was my summer album of 1968, as it felt like London in the summer - north London in the summer more importantly. It was redolent of the sounds and the images: Hampstead Heath, Highgate Cemetery, the streets, Soho, it was an album that really dovetailed with my own personal experiences of my first summer in London as a young man."

"Wong Kar-Wai is one of my favorite directors from Asia. I’m a natural romantic. I feel like his movies — slow motion, the momentum of people, even a clock running — are non-traditional filmmaking. Normal movies [have scenes set up] like, I talk to you; you talk to me. Those kinds of movies are boring to me, but his films are advanced. He’s also extremely private and personal. His stories are all about innocent love, sort of like teenage love. How people need; how you love. They’re very, very romantic. When I talk about it, I feel this slow motion romance, high heels, the mystery of women, sexy, walking by. I recognize things in my soul that are unspoken; a lot of those longings, and unfulfilled romances, and dreams within [Wong Kar-Wai’s] films — they make me feel that."

"If what make a work of literature a classic is its ability to be a mirror held up against all times and all human societies — the personal experience and the political one — I think this short novel by Isak Dinesen (or Karen Blixen in her homeland, Denmark) must be in the process of becoming one. Read against our own times it can bee seen as a simple tale about a woman on the run from civil war who seeks refuge in an isolated community. Bringing nothing along with her into her exile but her natural kind spirit and knowledge of the culture of the culinary arts, Babette makes a quiet existence for herself as a simple housekeeper until the day she gets the opportunity to show and share her extraordinary skills. And there is nothing simple about that."

"This is just maddeningly brilliant. At once sweeping and epic, and yet searingly personal, thanks to the incredible work of Peter O’Toole. It’s such a long film, which I love, and yet there’s not a moment in it that seems like it’s played too long. Everything from the rich orchestral score, to the extraordinary photography of F.A Young, and David Lean at the peak of his powers make this a timeless film, and one that remains, sadly, as relevant today as when it was shot. It’s about political and financial power and about the subjugation of a people, the fight for freedom and the power of the individual to make a stand against the imperial. All the performances are fantastic, from Sir Alec Guinness to Omar Sharif and on. Again, this feels like a perfect piece of cinema to me."