"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."

"I edited Scott Pilgrim on Charlotte Street in London. Two key Peeping Tom locations were outside the door of my workplace: the passageway where a doomed prostitute picks up Mark Lewis in the opening sequence, and the newsagent above which he takes adult photographs. I had seen Peeping Tom two or three times before but finally watched it on the big screen when I was working in its locale. Michael Powell’s film had always haunted and intrigued me, but seeing the streets that I traversed every day on-screen from fifty years earlier had a darkly powerful effect on me. Even though the film is a work of fiction, my walk home would never be the same again. I would think about Peeping Tom every day, and beyond that, the ghosts of Fitzrovia: dark doings behind closed doors, grim secrets at the tops of narrow staircases."