"I think my second favorite film is Apocalypse Now, partly because I’m 58 years old, and I grew up with Vietnam on the television. That movie is just such an amazing journey, and it was really terrifying to watch. There were just so many elements of that film that just left a big impression on me when I saw it. I think I saw it — when did it come out? In ’78, ’79? It was just an amazing film. For me, not having served, it kind of articulated and revealed the fear I think I would’ve had, had I had to go. There were just so many elements about that film that were terrifying. It was fascinating filmmaking, and I love that film. In my career, I finally got to work with Bobby Duvall, he played my father in the movie I did with Billy Bob Thornton [Jayne Mansfield’s Car], but to talk to Bobby about those sequences and what that was like, and how it was like to shoot… It’s a pretty profound movie."

"This band were in a similar-shaped box to Silver Apples. The nucleus of the band – Joe Byrd – was from an academic background; he was part of the Fluxus movement at the same time as Yoko Ono. He looked like a freak but wasn't druggy. The band were definitely writing lyrics that were less utopian than a lot of the stuff the hippies were writing at the time; there's a subversive edge seeping through the record that's evocative of what was going on in the States at the time – Vietnam, conscription, campus violence, the civil rights movement. You can really imagine this lot playing at a proper happening. A track like 'Love Song For The Dead Ché' is one of the most beautiful songs ever written, whereas some of the rest of it has a real jagged edge, a violence almost, that seems to come from Byrd's more experimental side. It's a very political record. Their second album even more so. I could easily have chosen that; this one just edged it for me today."