"My first concert! I rode my bike to the city, because I lived in the suburbs and I tried to meet Angus Young outside the tour bus, asking the security guy, [imitates younger self] "Can I meet Angus Young?" "No, he's not here!" "Hey dude! What the fuck?! Don't talk to me like that, I bought a ticket!" Also, it was my first experience of how loud - it was the loudest shit I've ever heard! And in the suburbs, they were a dangerous band. It was like, "Oh fuck, the devil", it kind of made Kiss look tame, and it just powers. And when Angus Young solos, it's just magic. I saw them on that tour when Bon Scott had died; he'd just died and Brian Johnson had just taken over, and I was totally sceptical, and then it was like, "Oh, he's fucking good!" And actually, when Kim left the band, and we're going, "Aw shit, we're fucked", and we're talking about what we're going to do, and then we're like, "Fucking AC/DC replaced the fucking lead singer! We can do this! [sombrely] We shall overcome!" And we thought about replacing Kim with a dude, and then we went, "What?! They replaced Bon Scott with a guy that sounds exactly like Bon Scott! Let's not break the plate! We're not broken, we're not broken at all. Give me a fucking break." So I was totally adamant [laughs]! Song two ['Girls Got Rhythm'], it's like: "SEX!" It's about "SEX!" It's not like Foreigner, where it's obvious but it's fucking stupid - come on, you can do better than that! It's like, "I want to have sex with you, what's the problem?" I think it's the ultimate way to get attention: "Come on, we're not here to meet up, let's cut to the chase. I'm not going to waste your time, don't waste my time! Let's fuck, come on, I don't have time for this!" [laughs]"

"Outside of 2001: A Space Odyssey, these are my favorite Kubrick films. The Killing is a tense and lean noir starring the great Sterling Hayden and a cast of character actors (Marie Windsor, Elisha Cook Jr., Jay C. Flippen, Timothy Carey, et al.), each of whom possesses his or her own special brand of menace and pathos. The film’s dialogue is by the best crime writer who ever lived, Jim Thompson (who worked with Kubrick and Calder Willingham on Paths of Glory as well), and it’s the music in Kubrick’s nonlinear racetrack heist caper, which I think is the best noir ever made. Hayden is one of the most curious creatures to ever grace the screen. I can never take my eyes off him, and as gruff as he is, I always feel for him. The tragic, cosmic joke at the end of this movie will break your heart—even when you’re wondering why you wanted this bum to get away with the crime. Johnny Clay is the ultimate “beautiful loser.” Paths of Glory is, in my humble opinion, the finest war film ever made. While not concerned primarily with combat and focusing instead on its multilayered consequences, the drama is as explosive as any battlefield action you’ll ever see. It lays bare the blatant hypocrisy of the powers that be, who never get their hands dirty but put innocent and well-intentioned men in the trenches to fight their battles for them. Kubrick takes us through the trenches with dazzling tracking shots that show us the weathered faces of the men who fought the Great War, some of whom will later be brought to trial and executed for “cowardice” after not being able to pull off an impossible mission. Kirk Douglas has never been better. And if the final scene in the battered cabaret, featuring Kubrick’s future wife, Christiane, singing a German folk song, doesn’t destroy you completely, you are probably some hideous sun demon."

"Outside of 2001: A Space Odyssey, these are my favorite Kubrick films. The Killing is a tense and lean noir starring the great Sterling Hayden and a cast of character actors (Marie Windsor, Elisha Cook Jr., Jay C. Flippen, Timothy Carey, et al.), each of whom possesses his or her own special brand of menace and pathos. The film’s dialogue is by the best crime writer who ever lived, Jim Thompson (who worked with Kubrick and Calder Willingham on Paths of Glory as well), and it’s the music in Kubrick’s nonlinear racetrack heist caper, which I think is the best noir ever made. Hayden is one of the most curious creatures to ever grace the screen. I can never take my eyes off him, and as gruff as he is, I always feel for him. The tragic, cosmic joke at the end of this movie will break your heart—even when you’re wondering why you wanted this bum to get away with the crime. Johnny Clay is the ultimate “beautiful loser.” Paths of Glory is, in my humble opinion, the finest war film ever made. While not concerned primarily with combat and focusing instead on its multilayered consequences, the drama is as explosive as any battlefield action you’ll ever see. It lays bare the blatant hypocrisy of the powers that be, who never get their hands dirty but put innocent and well-intentioned men in the trenches to fight their battles for them. Kubrick takes us through the trenches with dazzling tracking shots that show us the weathered faces of the men who fought the Great War, some of whom will later be brought to trial and executed for “cowardice” after not being able to pull off an impossible mission. Kirk Douglas has never been better. And if the final scene in the battered cabaret, featuring Kubrick’s future wife, Christiane, singing a German folk song, doesn’t destroy you completely, you are probably some hideous sun demon."