"I think everyone has a complicated relationship with Michael Jackson, but if you listen back to his stuff it’s insanely unique. Nothing sounds like it, people might have a similar voice, but in terms of the kind of music, it’s very particular. It’s the first record I remember singing along with. I remember having a seven inch of ‘Another Part Of Me’ which had an instrumental on the other side and I realised it was just a karaoke opportunity. It was a huge pop record from when I was young, and very influential in a way; the same way that The Beatles teach you about music, Michael Jackson was like the first pop person I was aware of, and Kylie Minogue in our house was the female equivalent. An insanely successful guy who isn’t a macho guy, but is captivating in some way. Then you’ve got the ‘pinnacle’ of Paul McCartney and Michael Jackson together!"

"This is a deeply soulful novel that comprehends love and cruelty, and separates the big people from the small of heart, without ever losing sympathy for those unfortunates who don’t know how to live properly. Hurston is a lyrical writer, and lyricism is not usually my cup of tea, but there are talents that go beyond genre and taste. Her greatest claim over me is that she never was ashamed of the novel as a form—she believed in the transformative power of storytelling, and she took risks with sentiment that few contemporary writers are prepared to make. This book is a part of my character now—that’s how many times I’ve read it. I don’t look to fiction to find heroes, but I have to admit that Janie has meant more to me than any other character. She’s singing my song, somehow. And you realize the breadth of Hurston’s talent when you find out how many other people feel exactly the same way."

"I was later than James on Public Enemy, he’d be copying all the raps. You’d go down his house and he’d be rapping ‘It Takes A Nation Of Millions’ to the record, like I’d be singing along to Ian McCulloch, which was really disconcerting - he really nailed it. I guess <>i>Fear Of A Black Planet is the bigger, more obvious album but it just felt like the rap equivalent of London Calling to me. It was really extensive and scattershot, obviously ‘Fight The Power’ was the main point of entry, but ‘Burn Hollywood Burn’ and ‘Who Stole The Soul?’ in particular are some of the best angry lyrics ever written. It felt like some sort of peak. I love the idea of NWA being the nihilistic, horrible Sex Pistols and Public Enemy being The Clash. I always loved those comparisons, and that album reminded me of a time when you thought things were possible. Before you were defeated."

"This felt like a dream, like being on acid again, like a new and technically ambitious cousin of “Last Year at Marienbad.” I enjoy thinking about the experience of watching it, probably more than the film itself. I was distracted, I kept looking for seams — where did they cut and stitch this together? How can it possibly be a single take? I’d rather have gotten lost in the world, which only happened after the fact as we drove home and tried to put into words what the film was actually about (and for weeks, I tried to figure out what the synopsis would be if I were to write one). I’m still not sure I love this film, but I am in awe of the ambition involved, and of the eerie tone, which never faltered. In particular the sound of those distant singing children. They were so haunting and dreamlike, I can’t recall the melody but I can still hear the feeling."