"It was kind of weird because I had forgotten how much I listened to that album. I was introduced to Ronnie [James Dio] at an early stage, loved his voice and Ritchie [Blackmore], as a guitar player, was someone who was just beyond the grasp of my little mind at the time. He was so unique. When you go through all the different eras and songs, there's such variety. Songs like 'Kill The King' were interesting, but by far my favourite was 'Gates Of Babylon'. It has such a hypnotic, dancing gypsy riff. The singing and all the production is just tremendous and if you can copy Blackmore and master what he's doing, it'll take your playing to a whole new level. Not many people have done it either. Yngwie [Malmsteen] did it very well of course, but Yngwie is the master and was influenced by not just Ritchie."

"MewithoutYou are a post-hardcore band who suddenly released this weird folk concept album. This was after I released Poetry Of The Deed in 2009 and I started to feel slightly like I had run into a brick wall as a songwriter. I was thinking maybe my road was run. I heard that record and instantly went, ‘Oh f***, there’s so much more to do' My American tour manager played me that record and I lost my mind. It is one of the most brilliantly written, composed and arranged records I’ve ever heard. It almost shamed me into not giving up. There’s that tendency that some people have that, because they’re not feeling inspired, then music is over in some way. We’ve just had Kasabian talking about it recently. I was guilty of it. I heard that record and instantly went, 'Oh fuck, there’s so much more to do."

"I love reading plays. Part of the reason I became an actor was that I would read one and think, 'Ah, it’d be fun to be in that.' Arcadia is about the discovery of certain theories of physics and math, but it’s also a love story — a sad love story — infused with ideas of early feminism and the Industrial Revolution. The action bounces back and forth between the early 1800s and modern times stylistically and smoothly. And the words are just beautiful. Stoppard has an amazing command of the English language. He moves the plot along in such a way that if you’re not paying close attention, you won’t catch the five or six things that are going on. This is probably my favorite play — it’s got this weird combination of excellent dramatic writing and math and science. It sounds kind of nerdy, but there you go."

"I would probably have to go with the first one because it shaped my view of cinema as a kid, and as pure entertainment has a real place in cinema. It is one of the most seismic and significant events in recent cinema history — some might say detrimental — but it certainly led to a culture of whiz-bang cinema which we see now, but it meant so much to me as a kid, and Empire is the best of the first three. It also had that slightly weird edgy bleak sheer sort of joy of the first; suddenly everything went to s*** in the most spectacular way and it was kind of cool. I remember coming away from it so thrilled that they all got really beaten up. It’s widely regarded as the best of the three and it would be too obvious to say Star Wars."

"That movie is the coolest Elmore Leonard adaptation that there is. It made me read a book. I went and read Get Shorty after I saw that. That never happens. Soderbergh to me in that movie is at his … I mean, because everything he does is … He may be my most favorite filmmaker, but he’s at his most commercial and Soderberghian. He had just shot The Limey, and he got that out of his system, and he was dabbling; there was that weird Jackie Brown connection. It was just awesome. It’s just so good. He’s got my favorite line in any movie, when Dennis Farina leans over to Michael Keaton, who’s wearing a tee shirt that says, “FBI” on it, and he goes, “You got one of those that says ‘undercover?'” He’s on in Out Of Sight. He should have won a million Oscars."

"As narrated in his highly entertaining autobiography, over the course of his life Preston Sturges had a long string of failed schemes, inventions, films, and affairs. And it seems like he had the great fortune to find it all funny. The climax of Unfaithfully Yours, when every possible minor physical thing goes wrong in Rex Harrison’s murder plot, isn’t just perfect circus-like slapstick. It’s a downright celebration of the ways that record players, telephones, wicker chairs, and gloves are these ridiculous, weird contraptions we can barely use competently. We aren’t the masters of the physical world; it’s really a wonder we survive out there. This is the huge insight Unfaithfully Yours has over a film like Modern Times or any other techno-dystopia. Like, sure, sometimes machines crush the souls of humans into their perfectly calibrated gears. But most of the time, it’s a miracle if they fucking work."

"Morrissey's a big Sparks fan; it must be a Manchester thing for people whose surnames start with 'Morris'. Sparks are kind of elusive; sometimes you'll hear something by them and think it's rubbish, but I keep going back to No. 1 In Heaven because it's a disco record that has Giorgio Moroder - and the thing about Moroder is that he was using sequencers, but there's real playing over the top of them. It wasn't like machine music; it has synthesisers and it is robotic, but it's got a disco groove about it. And I like that Russel Mael has got a weird voice; you just can't understand it. Me and Gillian have always tried to do a song that sounds like No. 1 In Heaven, but it's never worked out. I kind of see a parallel with that particular sound and when we were becoming New Order."