"It was was directed Max Ophuls and it stars Robert Ryan as a character who was intended to be based on Howard Hughes. Max Ophuls had been hired by Hughes’ production company, RKO, early to make the film that was actually supposed to be Faith Domergue’s big starring vehicle, and that movie just turned into a disaster. The production of it dragged along over five or six years with many different directors. After Ophuls got fired from it, he got hired to make an adaptation by another company of a novel called Wild Calendar. He told the screenwriter that he was paired with that he didn’t want to actually adapt the novel; he wanted to use the structure of the novel to make a film about how terrible he thought Howard Hughes was. They basically culled the notes of everything that they’d ever heard about Howard Hughes and Ophuls’ personal experiences, and the screenwriter, Arthur Laurents, went out and he met women who had had encounters with Hughes and then put it all together in this film which is about a shop girl who gets involved with a mysterious millionaire. The mysterious millionaire’s played by Robert Ryan, who was an actor who made a lot of different kinds of movies, and to a lot of film noir fans and B-Movie, genre film fans, he’s considered a great star, but he really looks like Howard Hughes in a lot of ways. They’re both very tall and lanky and have kind of a similar jaw. Even though Hughes knew this movie was being made – he insisted that he be sent dailies – he asked for some changes so that people wouldn’t think it’s him. The character and the performance are a lot like him. Nowadays, especially given everything we know about Howard Hughes, the similarities are impossible to ignore."

"Male camaraderie, male love, is a difficult subject to show on film. What does it mean to have one of your best friends pass away? When that unit dies, how do you deal with it? I’m not a married man but I’m sure that when I’m married and have kids I’ll see Husbands in a new light. It’s regular guys trying to make sense of this life, having a good time while they’re doing it; running from their own lives and trying to distract themselves with hookers and gambling and drinking, and they all have families to go back to. They just don’t wanna leave the party. It’s male camaraderie at its most loving and brutal: these guys are terrible to each other, but they’d do anything for each other, and that kind of friendship, those values, mean a lot to me. The way they shot the film, the way they lost funding — there’re these wild stories of how to make a movie that you care about. They lost financing. As the story goes, they put the last bit of money — and they’re half way through the film, they’ve been shooting for six months — they put all the money to throw a party. They got dancers and girls and piano players and I think there was like an elephant, and they invited all these studio heads to come to this party sequence that they were filming — and when they studio saw the scene they said, “This movie’s huge, it’s wild, we’ll cover the rest of the film.” They got the rest of the financing. The scene’s not in the movie — it was never planned to be. So that spirit still excites me. The camaraderie feels familiar."

"I was a big fan of Mark Everett ever since I heard ‘Novocaine For The Soul’; I heard it once on the radio and bought the album the next day. It was perfect, almost like a Nirvana that were still alive. Little did I know that was their only song that was really like that, but I still fell in love with them, I loved Beautiful Freak. I guess I was following them so closely and thinking about his various woes so much and then this record came out. It was set in a hospital and a lot of things seemed to be set in a hospital for me, musically, at that time - The Bends had a lot of those themes on it too, for example. On the one hand there was this idea of the monotony of being in a hospital, the absolute depths of his misery, but at the same time he can’t seem to stop himself writing these theme tunes for happier scenes, like ‘Susan’s House’. He’s just got these terrible, heart-breaking lyrics but attached to these jovial little songs. There’s also loads of really cool sampling and the musique concrète stuff he does, particularly on Electro-Shock Blues, where there’s lots of ambience and you don’t know what instrument is playing what. It’s got a kitchen sink sort of vibe. “Arrangement-wise too you’ll get really unusual stuff happening; lots of bass and then something weird with no drums. He broke a lot of rules for me when I was starting out and I started thinking, 'Well, you don’t have to have that in your song if you don’t want...' You could just have the beeping from a heart monitor and sing over that."

"So I'm mentioning New York nightlife. I'd been born in New York, but I'd been brought up in the suburbs, and I loved New York, I was obsessed with everything pertaining to the New York art scene, the New York music scene, and I would hide in the bathroom in the train that went in and out of New York from my town, so I wouldn't have to buy a ticket. I would go into New York and walk around and look at record stores, clothing stores and nightclubs, so I was exposed to a lot of music that I wouldn't otherwise have been exposed to, like early hip hop. Hip hop, up until Eric B & Rakim, had been very drum machine based, drum machines with synth basslines. Then they rolled up with this song called 'Eric B Is President' which was sample-based. The first time I remember thinking, 'wow this sounds so different from all those other hip hop songs'. Rakim I think is still the most powerful MC of all time. Paid In Full I think is still really the first cohesive hip hop album. It helps that it has four or five huge New York hit singles on it. Paid In Full came out, and Public Enemy's Nation Of Millions came out, and suddenly people realised that hip hop could be a genre that worked on albums and not just tracks. At the time, it was impossible to go out in New York and not hear this record. Every car that drove by, ever nightclub, restaurant, shop, something off Paid In Full was playing at every second of every hour of every day. That and Public Enemy, you just couldn't get away from these records, and it helped that they were amazing records, not ubiquitous and terrible."