"Mr. Scorsese’s stuff — I couldn’t watch Raging Bull Enough. I couldn’t watch Taxi Driver enough — every time it was on, I would just watch it. I couldn’t stop. I think there’s just, you know, being able to capture something that was real and something you just couldn’t tear your eyes away from. I don’t really know how to articulate it so much. These are all things that hit me young, and that’s why I’m talking about them now. Because they’re the things that opened my eye to movies and they are the ones that drew me to want to see more films. Almost like they chose me, and I didn’t really choose them, if you know what I mean. It’s like, they were put in front of me and I didn’t know what hit me. That’s more appropriate, actually."

"Another movie my dad took me to see. Why? I don’t remember him asking me if I wanted to go to the movies, necessarily, nor if he explained what we were going to see, and I’m sure I don’t remember him talking to me after the fact about what we had seen. I went because it was my dad + the movies. How did he choose? ’Round Midnight, Pumping Iron . . . Walkabout. I remember seeing Walkabout (I was very young, a preteen), and for a long time I remembered much about it. When I saw it as an adult I saw so much that I had not remembered but must still have been there inside of me. Scary. And great, I guess? Walkabout helped begin an awareness of significant otherliness, and maybe helped reinforce the idea that otherliness is not really sanctioned."

"That’s something I always wanted to do, damn that Keira Knightley! The costumes are phenomenal in that movie, the message is fantastic and there’s just a grandeur and beauty in the scope. We don’t even make movies with that kind of scope anymore; I don’t think anybody would sit there for that long for that movie anymore. It’s about being yourself, and not forgetting yourself really. Even though you move forward or you move up, you still are you. When they’re at that racetrack she’s talking to the horse and she’s going, “Go Clover,” and then she goes crazy shouting, “Move your arse, Clover!” And she’s got that phenomenal hat, fantastic dress on, but she’s Eliza Doolittle you know? I love that movie, and why can’t a woman be more like a man? I love that song; I love his confusion with that."

"I saw an advert for this album when it came out and I had to buy it. I just thought, 'With a title like that, it’s either going to be the greatest thing ever or the worst thing ever.' And from the second I put it on and heard 'Barabajagal (Love Is Hot)' by Donovan that blew me away. The second the album finished I got on the phone, and I was like, 'Find me these guys. I need to go and work with them.' Then I found out more about them and I went onto their website and they’ve got podcasts and everything. You should see them DJing. They are unbelievable. They will blow your mind. They’re modern day geniuses… even though one of them never says a word and the other one never stops talking."