"It is the most vexing challenge because I just find that, depending… I’m not so psychotic that my mind changes constantly on that subject, but it really depends on where you are in your life. You sort of have a rolling list of a few dozen that you cherish for different reasons. All you try to do is avoid interviews like this so you don’t get pinned down. [laughs] No, I always have trouble pinning anything to a fixed list. Why is it hard? Is it easy for you? You start thinking about the directors you leave off the list and your heart starts breaking. In chronological order, The Passion of Joan of Arc. The last time I saw that film, it struck as me as if it was an artifact from the period itself that it’s depicting. It was like a medium unto itself, and [Maria] Falconetti’s performance, it really cannot be compared to anything else. It’s beyond naturalism, it’s beyond melodrama, it’s beyond everything. It’s just coming straight out of her soul. But mainly, the last time I saw it I just had this weird time slip kind of experience where I felt like I was really seeing a mad visionary from the time who somehow invented the movie camera. [laughs] Putting on this intense pageant on this subject of intense religious devotion. I find that film a knockout. You can’t watch it lightly, but that’s all right."

"Despite the fact I love all sorts of Crimson records, I think this is still my favourite. Maybe just for nostalgia reasons, I listened to this record when I was very young. Before I was into jazz, before I was into weird music, I always loved this. Obviously I grew up with The Beatles and the Stones and Floyd and stuff, but I remember I was in a car and Jimi Hendrix came on the radio. I said 'what is this?' I was only 12, and a guy I was with looked at me like I was insane. In those days gas stations had lots of cassettes so we pulled over and I bought a cassette that had Are You Experienced on side A and Axis: Bold As Love on side B. I listened to it until it was completely worn through. That was my introduction to the 60s stuff that I hadn't been brought up listening to. King Crimson's early stuff was among that new, exciting 60s music that I hadn't heard. Robert Fripp became my guitar hero, he used to do a League of Crafty Guitarists thing in New York so I saw him play. I became a Fripp head, I saw them play in the 90s with my English teacher. It blew my mind, but they didn't play the old stuff. I'm not musiciany enough to like that stuff, but the early stuff resonates a lot."

"I don't know much about her. We're going to be playing some shows with her, so I'm holding her in this great realm of mystery until then. The drummer is fucking amazing, Zach Hill - he played with that band Hella. They're playing this fucking insane music. I don't even know what their set up is like. I don't know what she's like, what her group is like. And in a way that's why I'm enjoying it so much at this time, because it's still new to me. You can go on the internet and find out everything about a group and before you know it you're meeting them, and that's a great thing about my life. But there's also times when you want to be suspended in the mystery of what you're listening to, and that's where I'm at with her right now. And what a weird name... Is that really her name? I like it when people can be technical, or use elements of technique. I love technique. I think technique has probably more beauty in it that the way I play - the punk rock, anything-goes kinda way. But if you're lucky, like Marnie Stern, you can do both. You get this ridiculous shit where they're all trying to play these intricate little bits together, and then, because they're weirdos, you get this other kind of music that you haven't heard before."

"I’m going to break my rules for this one, and just put in one old movie. I still think that Animal House is misunderstood, although I do increasingly read about a generation of comedians saying it is the great film. Because I think it’s a brilliant comedy, with brilliant acting, with everybody at their best – Karen Allen at her cutest, Tim Matheson at his handsomest, John Belushi at his most mono-syllabic. So these extraordinary comic performances with just a series of amazing scenarios with amazing set-ups with the horse and the chainsaw, the dead girlfriend, them going to the toga party, and just everything about it. It’s boiled down to the funniest joke scenarios that there could possibly be. That fantastic Elmer Bernstein score, which could be from Patton. “It seems to me like a really great, classic, funny character movie hiding in wolves clothing, pretending to be a big stupid old generic college movie, but it actually invented the genre, and I don’t know that I’ve ever seen a funnier version of those movies. Certainly when I was doing The Boat That Rocked, it was M*A*S*H on the one hand – very casual, conversational, just guys doing a weird job – and Animal House on the other – with big characterisations and set-pieces.. So we’ve got four moderns and one slightly older. Can I have one more? Am I allowed? Just for sorrow?"

"Burning Airlines Give You So Much More’ is from Eno’s solo album Taking Tiger Mountain (By Strategy). I love the sound of his early solo records, Here Come the Warm Jets was a massive album for Supergrass, I remember the tour manager, the crew and all of us listening to it and loving it, it was quite a defining record for us on those early tours. “There’s something about that early solo Eno sound that I really love, he was such a sponge in terms of how he picked up on things around him and a lot of the stuff happening in Germany around that time. It was the way he could put things together and the way that he would double-track his vocal, the dirt and the raggedness of the way it was performed. There’s so much about it that I really love and then there’s the odd, skewed, surreal lyrics, it’s a good recipe. He was a big inspiration for me definitely, another one that can do that throwawayness, which is really cool. “There’s some tracks on Here Come The Warm Jets that do a similar thing, where he could be quite tidy at times in the song structure and do something that’s almost quite friendly to listen to. It wasn’t always angular and weird and I think ‘Burning Airlines Give You So Much More’ could have sat on the Here Come The Warm Jets album really well, it’s Eno at his best."

"When I was about 15, Danny and Mick [Quinn, Supergrass bassist] lived in this row of cottages that was literally 10 metres from my family house. That was our base; we’d get together in Mick’s living room. I feel very lucky to have been in a band at that time because we were still approaching music – playing live, writing and recording – the way they had since the beginning; it was the last little window where there was only two-inch tape recording, just a few A&R men around who would come to gigs and stuff, no internet, mobile phones. It seems weird now! We were in the house getting stoned and playing loads of records, everything from Pink Floyd to Gong, Muppets albums, Zappa and Patti Smith. A big one for us was Brian Eno’s Here Come The Warm Jets – it was one we were really hooked on. For somebody so experimental he had killer melodies and the way he double-tracked his voice is just really cool. The production and instrumentation are kind of understated and hint at lo-fi, but in an honest way. We had a meeting with him in New York in the early 00s about producing us. I don’t think it was anything creative that was the issue, it was a boring calendar thing from what I remember, but it was great to meet him and have a chat."