"I would say The Notebook is also another one. Maybe because it’s like a reflection of that similar type of love story. Forbidden love is always nice to see on camera as well. Being young and not being allowed to date kind of started that whole thing. I do remember when Noah and Allie have their kind of sex scene, getting my eyes covered by my mom — which means I was very young. I was maybe like 10 years old when I watched that movie for the first time. But, again, also one of those movies where I watched again when I was 13, and then watched again when I was 14, and 15, and 16, and so on. I always find something new about it, and maybe it’s because now that I’m older, and you experience love differently, it changes the way you watch those movies for sure."

"That was a massive record for me. I remember being obsessed with the first Weezer record, then Pinkerton came out and I think it happened at the right time for me as far as feeling like a teenager, It’s funny, if you listen to it now it’s a bit of an odd, but very solid album about being awkward. The sound of it was quite unusual as well, the production, compared to the first Weezer record, it’s very live sounding and immersive. It was just what I was in the mood for as a teenager. I was chatting to someone the other day about early Weezer lyrics and how a lot of it’s quite cringy. It would get scrutinized in a different way nowadays, lines like ‘God damn you half-Japanese girls’, but I still really like this as a record. It’s a naïve record."

"Alright, my next one on my list is Stardust Memories, Woody Allen. It’s really amazing, and it didn’t do very well at the time. It wasn’t a huge film for him, but it’s loosely autobiographical and arguably super self-indulgent. I f—ing love it and there’s just something about the cage of celebrity that he put together in this film which is pretty on the money. To a degree, I identify with the character in the film. I feel like it’s a really great blend of story-telling and film-making and avant-garde, self-indulgent artsy-ness — without being too far in that direction. And it’s conscious of its own attempts at being incredibly avant-garde and almost pokes fun of itself for that. To me, it’s one of my favorite films of his, and he’s one of my favorite filmmakers, period. That one … It’s f—ing good."