"Terminator was a real seminal piece. In fact, I read the script before [James Cameron] shot the movie. I was asking around, “Anybody read any great scripts?” I read the script — it’s a game changer. All of these films, I feel like they’re real game changers; there are films prior to these movies, and there are films after. It’s like you’ve opened up a Pandora’s Box, and the filmmaking world can never be the same — the language is different, the grammar is different. I think Jim did that in Terminator. I think he really changed the playing field. And so I read the script, and I was like, “I can’t wait to see it!” I didn’t know him, so I didn’t go and watch the shooting, but of course when it came out…the only way you can describe it is as a game changer. You have to change your rules! Again, not in any particular order, but Kurosawa has to be in there [among my favorite films and filmmakers]. Ran, Kagemusha, Dersu Uzala… and then Fassbinder‘s In a Year of 13 Moons, one of the most magnificent love stories ever made. Ozu. Pabst, who gave us the opportunity to move from one location to another and fuse it together. Anyway, that’s my story and I’m sticking to it."

"Rififi is a strange animal, based on a novel by a typically French crime writer, Auguste Le Breton, and shot in Paris as the first foreign-language film by a great American filmmaker at the height of his powers, whose career had been broken by McCarthyism. Jules Dassin’s previous film, made in London five years earlier, Night and the City, is his masterpiece. This inspired hybrid of French and American noir—which I discovered as a child on French TV—has constantly impressed me with its violence, its despair, its darkness, and its beauty. It has also been hugely influential, not only on Melville—so much of his work derives from Rififi—but also on a lot of minor figures of French genre. Dassin reinvented the whole syntax, and the after-effects have been felt for a long time. I am a fan of Michael Mann; he is one of the most inspired stylists in American cinema today, but it was all there from the start. In Thief, his first feature, you have echoes of Melville (it goes full circle), a sharp eye for realism, but also profound human characters with precisely drawn relationships, and great acting. Mann’s fascination with a geometrical modernity, even if it is always mediated by genre filmmaking, is genuinely reminiscent of Antonioni—explicitly so in the last scenes of Heat."

"Rififi is a strange animal, based on a novel by a typically French crime writer, Auguste Le Breton, and shot in Paris as the first foreign-language film by a great American filmmaker at the height of his powers, whose career had been broken by McCarthyism. Jules Dassin’s previous film, made in London five years earlier, Night and the City, is his masterpiece. This inspired hybrid of French and American noir—which I discovered as a child on French TV—has constantly impressed me with its violence, its despair, its darkness, and its beauty. It has also been hugely influential, not only on Melville—so much of his work derives from Rififi—but also on a lot of minor figures of French genre. Dassin reinvented the whole syntax, and the after-effects have been felt for a long time. I am a fan of Michael Mann; he is one of the most inspired stylists in American cinema today, but it was all there from the start. In Thief, his first feature, you have echoes of Melville (it goes full circle), a sharp eye for realism, but also profound human characters with precisely drawn relationships, and great acting. Mann’s fascination with a geometrical modernity, even if it is always mediated by genre filmmaking, is genuinely reminiscent of Antonioni—explicitly so in the last scenes of Heat."

"It's got the charm of a debut album and he is someone who has inspired me a great deal. I suppose he was taking time off the avant-garde of New York in this album but I like the idea that he was 27 or something and he had already been in the Velvet Underground, which was unlikely for anyone from Garnant in any case - he was making a pop album for a major label in LA and driving around in sports cars and things! Overall, it's not his most experimental or brutal record but the songs are charming and it's still really influential. You can hear 'Sound & Vision' by Bowie is a complete lift from 'Cleo' on this album, it's obviously a record that seeped into people's collections so a music fan like Bowie would have been aware of this album. It's a really interesting pop record and I think as a musician still working, he offers quite an inspirational path as to how you can still experiment. The Super Furries collaborated with him for the film Beautiful Mistake - we got to be his backing band. It was so interesting, it was like an out of body experience for us. I think it was interesting for him as he hadn't had band practice in the Welsh language since the early-1960s or something!"