"Le samouraï is a film I return to again and again. Like with any minimalist cinema, the less it states, the more you want to discover. Jean Pierre Melville’s film has been hugely influential, from Walter Hill’s The Driver through Luc Besson’s Leon: The Professional right up to this year’s Drive. Hell, even scenes from my own Hot Fuzz are ripped out of this. The iconic image of hit man Alain Delon lying on a bed in his bare apartment with just a canary for company is still echoed today. Melville took lone warrior mythology from Japanese culture, married it with the tough guy angles of ’40s gangster movies, and, along with John Boorman and Point Blank, ushered in a new age of neo noir. It’s a beguiling picture and one to stare at for a long time. Plus, it has so little dialogue that it is literally a must-watch."

"We listened to a fair amount of Serge during Supergrass. We spent a lot of time in France – recording and writing in different houses and villas – and we’d often hear him on the radio. This one really got to me when I started to get nerdier about sounds – the bass sound is killer, and the drum sounds are great. The one person I’ve worked with who can get close to those Serge drum sounds is Nigel Godrich. We did a few bits of the Hotrats [Coombes and Goffey’s covers side-project] album together. They’re sort of dirty and a bit unstable; there’s something about them. You have to get past what a nutcase he was but it also adds to it; this whole mythology and glamour around him. My sister-in-law bought me this about five Christmases ago and that reignited my love of it."