"Well, maybe that’s why David Heyman and Paul King cast me in Paddington, I don’t know [laughs]. You’ll be surprised by my fifth one, then. OK, try and find the link with this: Pulp Fiction. I think that’s the exception that proves the rule. I think it was great, it was such a breath of fresh air. That same year, I remember, I was completely enamored by two films: The Lion King and Pulp Fiction, so you couldn’t get more extreme than those two. They both have death in them, I suppose. But Pulp Fiction was such a great breath of fresh air when it came out, and I think it still remains such a cool and fantastic piece of the cinema. Obviously it was the second film after Reservoir Dogs that brought Tarantino into the fold, but I think it’s a gloriously slick and entertaining piece of movie-making, structurally and cinematically, with these great, legendary performances that were instantly loved, and instantly classic and endlessly imitated. The number of people I’ve seen doing Christopher Walken impressions — or Bruce Willis impressions from that movie — or indeed Samuel L Jackson… It’s sort of a great cinematic feat and [it’s filled with] dark, dark humor."

"This dark, fast-paced novel is a visionary masterpiece. It’s populated by hackers and cyberpunks, Gibson’s creations that have since become fixtures in the electronic matrix. I first read the book in the mid-1990s, when the Internet was beginning to wrap itself around all of us, and I read it with increasing excitement—but not without some difficulty. Gibson doesn’t bother to explain his terms or lead the reader by the hand through the puzzling dislocations of his futuristic landscape. Neuromancer is pulp fiction, but it’s guided by a hip wisdom about a baffling phenomenon that was only beginning to take shape."