"I would say that Thomas Vinterberg’s The Celebration was probably one of the most influential movies for me to be a filmmaker. I had seen a lot of how-to movies in the past, but there was something about how unapologetic that movie was to be filmed on a video camera. They had all these rules because of the Dogme 95 rules, where you couldn’t have a tripod, you know, you can’t bring in lights, you can’t use props that aren’t already there, you can’t use music, and I thought, “Well, this movie’s going to suck.” I went to see it, and I was riveted, and it was like that moment where I kind of sat at a coffee shop — I saw it in Washington D.C., I was there on a trip — and I just sat there thinking, “The only reason you’re not a filmmaker right now is because you’re not going out and doing it, because these people just made something with a camera that’s sh**tier than yours, and it’s brilliant.” So, “The only reason you’re not a filmmaker is not because people aren’t giving you money, or giving you a break. It’s because you’re not good enough, or you’re not doing it.” So that was a very important movie for me."

"Taxi Driver. Martin Scorsese. Growing up, most of my friends were interested in becoming bankers or working in a company. I, however, wanted to become a movie director. This was something that I couldn’t be open about with my friends and oftentimes I felt lonely because I couldn’t share those aspirations. I lost my father when I was quite young. My mother was working and I was a latchkey child. Even if I talked to a lot of people, I always felt a little lonely. I thought maybe I’m sick, maybe I’m ill. There was no counseling, or there were no therapists. It was not a trend at that time. So I thought maybe I’m really strange. After watching Taxi Driver and seeing Travis, I felt this immense similarity between the character and myself. He lives in New York, surrounded by so many people, but he still felt lonely. This surprised me, and I thought “Here is this guy, living in America, who is like me.” Seeing his character, I felt relaxed and realized there are others like me. I felt I was okay. And I wanted to put that feeling in Death Stranding. Like, you’re all alone, trying to connect the world. Everything has been connected by the internet recently. In so many ways, everyone is battling each over the internet. If you play online, you get head shots, but, like, you don’t know who you actually shot, right? To connect is a very positive concept. But there are people who don’t want to feel connected anymore, and I think a lot of people play games that don’t offer human connection. I can’t tell anyone that I feel lonely or I’m in solitude, and I have this big problem which I couldn’t share with my friends. It’s a big load to carry, just like Sam Bridges. And you’re kind of traveling, you’re sent orders, you go to this place, you trip over, and drown in a river. But at one point, you have this indirect connection system where you know you’re not alone. It’s not an isolated, lonely planet. There is someone who creates a road. There is someone who has made the coffee. It’s not just me, and I wanted to put that in a game. This is the same feeling I got from Taxi Driver."

"My late friend and mentor, a guy called Roger Eagle, who used to run Eric's [club] in Liverpool, he turned me on to Bobby Bland. And straight away I was just blown away by the voice. This incredible voice. What I like about Bobby Bland is he has tinges of jazz in the R&B, it's not just straight ahead R&B, the jazz comes through. I was very fortunate to spend time with Bobby, and B.B. King as well, they were very close friends [of one another]. B.B. contributes to the film we made when we went over to Memphis and I spent a little time with Bobby [this documentary features on the DVD edition of M.H.'s 2008 solo album, Tribute to Bobby]. He's a profound influence on me, he's a truly great singer. His music lives with me, and I just love him and it. I love the R&B of that period. A wonderful experience, just knowing these guys, and spending time with them and listening to their stories."

"The first Rocky. Just an amazing movie. Whatever the hunger is, the fight, literally and figuratively, that Sylvester Stallone had in him to make the movie, right? To go through people saying, “Nah, nah.” And even Carl Weathers said, at one point, “Okay, this is incredible. So who’ll play Rocky?” And they’re like, “Sylvester Stallone, this young kid nobody knows.” And just him selling the dog, getting the dog back, the whole story behind it — during pre-production he buys the dog back. And Talia Shire was amazing, Francis Ford Coppola’s sister. It was just Sly Stallone at his very best, even as a writer-producer. And the incredible actor who played Mickey, Burgess Meredith. It’s an amazing movie you can watch over and over, no matter the gender or color or creed or religion. Rocky is a survivor’s movie, an American tale of a young kid trying to make good, and he finally makes good. It’s just such a great movie. The wardrobing, the score, the music, it’s unbelievable."

"I just love that record. I love the early Stranglers. The bass always sounds so good. It just drives everything. It's almost the lead instrument. The Stranglers were such a weird band. They've got this sort of Rick Wakeman-esque classical keyboard going all over the place but sometimes, like on Black And White, it's more synthesiser stuff which is cool. It's got my favourite Stranglers songs on it culminating in the last song 'Enough Time'. I think that's just a brutal and great song. I love 'The Tank', 'Toiler On The Sea', 'Do You Wanna', 'Sweden (All Quiet On The Eastern Front)', 'Outside Tokyo' the whole thing about the watches with a strap to sell is really funny. 'Nice 'N' Sleazy' has a really great groove. The bad pun bugs me a little bit but it's still pretty great. Rattus Norvegicus was a great record too, but No More Heroes, of the first three albums, seems the weakest. Or maybe it's the one I haven't listened to as much. Black and White just feels more brutal than the first two records."