"My Mancunian grandmother, who left school at sixteen to work, was a very smart, insatiable reader. She was thrilled when I went to study English at university for three years, but still read far more than I did in that time. I remember thinking it might have been better, certainly cheaper, to enroll with her. She would mail me novels (always beautiful editions) and I would read the back, maybe a first line, and then pile them up beside my bed and feel guilty for not having the time amid weekly essays. My experience of ‘reading’ then could be more accurately described as ‘coloring.’ Extended procrastination followed by an intense period of highlighting, looking for key words and retaining nothing. Always in a post-midnight panic. Always, it felt like, incomprehensible lines of Chaucer. By the time it came to final exams, I’d read practically nothing post-1960 and so was pretty clueless in conversations about books other people had read. It wasn’t until after I finished my degree and my grandmother was very sick that I finally discovered the meaning of ‘reading for pleasure,’ and got round to chipping away at the books she’d sent, most of which I’d politely pretended to have enjoyed in my thank-you calls. I began with a beautiful blue Virago edition of Jean Rhys’ Wide Sargasso Sea, and was electrified. As Rhys’ Antoinette and Jane Eyre’s Bertha began to fuse in my mind, connecting an old favorite novel with a new one, the initial electrical jolt turned into a mixture of rage, wonder, and self-reproach for having put the experience off for so long. I realized I’d probably only told her I “liked” it on the phone. I rang her again, admitted the lie, and told her I wanted to write my own. She laughed and said ‘I knew it. Good. Get on with it.’"

"Mad Max. George Miller is my ultimate mentor. I went to see Fury Road 17 times in the cinemas. I can’t really express in one word of how good Mad Max 2 is. There’s hardly any dialogue in that movie, right? But the character stands out so much, visually, how he moves. Usually, you express through dialogue, but with George, it’s totally different. Like how a character throws a boomerang: No dialogue, but all character. I’m also influenced by where Geroge places the camera. It never goes away, far from Mel Gibson. Even looking through the telescope, usually the camera jumps to that location, but here you’re always looking at Max. It’s kind of basic, but George Miller keeps it basic in a way no one else can. It was tough when I had to leave my previous company. George came to Japan, and that was the first time we met. He cheered me up in my darkest time. After I became independent, and opened my studio, I went to Australia in 2017. I had two trailers at that time, but there was no gameplay revealed yet of Death Stranding. I explained what Death Stranding would be over an hour — the system, the story, the world. George told me, “What you’re doing is mathematically, philosophically, and physically correct.” He said: “Congratulations; it’s a guaranteed success.” George is a very kind gentleman. He is really into computer graphics and technology, and he also knows game technology. It’s really rare that a director of his generation knows all of these. He’s even older than me, but he has a lot of energy. There are game producers who are much older than me. But, as for creators who actually write scenarios or game designs, I think I’m the oldest in the industry. Sometimes I feel lonely because of that. But then there’s George; he’s over 70, and he’s still wearing this leather jacket, still young. That cheers me up."

"Now to get as far away from punk as you can get… Wynton Marsalis is a trumpet player, and Kathleen Battle is a soprano. “There’s a really good video of them performing this song and it kind of tells you everything you need to know about them as people. The combined ego of these two people is insane, you can see it on their faces. Again, it goes back to the idea that you don’t need to feel like you like the people singing to like the song, you can get positive emotions from egotistical people. “This song was played to me by Rachel from Cat’s Eyes. I got into classical music through her and it took me ages to a find soprano that I actually liked. I find listening to sopranos difficult sometimes, sometimes it feels so intrusive with that theatrical, over the top warble. But when the tone is pure I love it and Kathleen Battle is one of those sopranos. “The song is a baroque piece, but I find it quite hard to categorise. It’s so visual and so evocative; it’s almost psychedelic, because their music affects your perception of things. And it puts so many opulent and indulgent pictures in my head while I’m listening to it. Of all the soprano pieces and classical pieces that Rachel played me, this one is my favourite. I listen to it all the time, it’s probably one of my most listened to songs. “These two performers are so completely dedicated to their craft. They’ve been doing this their whole life and they’ve reached a level of control that most people will never get near. That’s why I love watching the video of it so much, despite their monumental egos you can’t help but admire and be inspired by the performance. The level of dedication and the level of musicality is unreal"

"I listened to that record non-stop, it was a record that was in my house when I was really small and I knew the whole thing back and forward by the time I was six years old, as that's one of the many times we moved. I remember listening to the song 'So Far Away' in our station wagon as it pulled away from my neighbourhood and waving goodbye to my best friend. Throughout my life I've had a different favourite song on that record for a different reason and it sort of stayed with me. When I was a karaoke host, one of the first songs I did was 'I Feel The Earth Move'. I think her story is so interesting, too, of starting out as a songwriter and not feeling confident and then deciding to put out her own songs with her own voice. That was a really empowering story when I finally learnt it. I just thought she was this cool, powerful '70s woman with her curly hair and swirly skirts. I found her fascinating as a person as well, like a role model. She played piano, sang and wrote the songs, and everyone knew that, it was really implicit at the time, that it was her album. A lot of singers, male and female, were singing songs written by other people and Carole King had been writing songs for those people, then this album was like, "I'm writing it for myself." I didn't know she wrote 'Will You Love Me Tomorrow?' until I heard her sing it and her version was so different than the popular version that I'd heard and I was like, "Wow!" It was a great album in the vein of Thriller – every song on that record could be a hit. And it was like she made it; I knew a woman made it from start to finish and I knew I could write songs. It was something that everybody had that was very popular that actually still holds water and it's really good."