"Day of Wrath, for me, is another kind of perfection. It’s mature themes for mature people. It’s about inquisition and war, and no wonder why, after doing that movie about inquisition during the invasion of the Nazis in Denmark, then he was recommended to move away from Denmark just to save himself and family. It’s a very cruel movie about a cruel historical time, but in which some people are put in positions that they have to behave cruel against others, and all the characters are changing. It’s very weird. Even the young girl who is very nice at the beginning, then she starts to turn to a witch, and you know that she’s going to die also, but the weak characters are touching. It’s a very complex movie in terms of the multiple faces that every human has in their life. You have the nice face when the situations are nice, and when the situations turn dramatic and there’s no way out, some people just become evil. What I like about Dreyer is he was studying movies about religion but from a very atheist approach. His movies are about the inside of humankind. It’s such a perfect movie. There are some movies that you see and you go, “Oh, I wish the music was different,” or “I wish the actor was funny,” but there are the movies that you watch over and over and see that there’s not one single frame to change. They’re perfect."

"Groundhog Day. I can watch that movie just a million times and never get sick of it. There was a whole spate of movies around that time in the ’80s and ’90s where something magical would happen, and sort of screw over a protagonist in some way, and some of those devices were very corny and kitschy and didn’t work as well. Some of them just worked magnificently, and this one is one of those. It’s just these sort of inexplicable moments where the universe is teaching this one guy a lesson, and they never explain how or why, but you don’t care, because it just kind of makes sense. And the way it unfolds, it’s sort of like it’s one of those things that, I think, if you tasked somebody with writing a story with that premise, where a guy wakes up every day in the same day and he has to relive it over and over again until he learns to be a good person, you’d be sort of overwhelmed, like how can I do that? Then you see this version of it, and you’re like, that’s the perfect way to do it. It’s like, “Oh, it’s so simple.” That’s a brilliant script, when it looks like there was no other way to do it, if that makes any sense. And the performances, everyone from Chris Elliott to Andie MacDowell to Punxsutawney Phil. I mean, they all nail it."

"""Ben Vida is a composer and sound artist whose work I really love. This record he did pairing his idiosyncratic electronic voice with percussion is a favourite. I suppose everyone I have given on this list has a strong character. The thing I love about Ben too is that he's so good at synthesising sounds and he has such a strong compositional voice. But his music has such a great sense of humour too – some of the sounds are absurd. They are really high quality, well made objects, but in a lot of ways it's so funny. I'm always excited to listen to anything that Ben does. And it's great to get a chance to work with him too. He's been a long time collaborator. I also sought him out to work with me as a performer on my HIVE project. When I first started the project, it was this installation where there were these five wooden mushroom-like pods. It's a piece for three percussionists and two modular synths. Being a fan of his music and having known him for a couple of years, I asked him to do that with me. And so we ended up touring that around together. I ended up adding some vocals to some records that he did. He did a record called Slipping Control a couple of years ago, that I worked on with him. So it's been a very rich creative relationship."""

"This is just double bass, drums and some kind of keyboard at some point. I chose this album for the opening track. The rest of the album is alright, but it sounds a bit dated. The opening track though is great. The start with the saxophone, or whatever it is, is quite dark, and then it teases with the synths. I used to have it on and think, ""Oh, this is fucking great."" This came out in 1996. I was living with a guy who bought it. I would have never have bought it but he was a bit of a fashionista, you know. I was living in Nottingham. I had split up with my girlfriend and was lodging with this guy. He bought it and I got really into it, this album and Photek, which I chose as well. They started to get my mind thinking about electronica, although Red Snapper was essentially a live act, to me it sounded like electronica, all instrumental. He asked me to do some singing for him, the guy from Red Snapper. But I couldn't do it. He wanted me to do one song and I said I could do it, and then he said ideally he wanted me to do two and I was like, ""Hold on, come on."" I just didn't have the time, I said I'd have to let him down. Though the stuff he sent me over was quite good."