"I edited Scott Pilgrim on Charlotte Street in London. Two key Peeping Tom locations were outside the door of my workplace: the passageway where a doomed prostitute picks up Mark Lewis in the opening sequence, and the newsagent above which he takes adult photographs. I had seen Peeping Tom two or three times before but finally watched it on the big screen when I was working in its locale. Michael Powell’s film had always haunted and intrigued me, but seeing the streets that I traversed every day on-screen from fifty years earlier had a darkly powerful effect on me. Even though the film is a work of fiction, my walk home would never be the same again. I would think about Peeping Tom every day, and beyond that, the ghosts of Fitzrovia: dark doings behind closed doors, grim secrets at the tops of narrow staircases."

"It's another strange thing; you had to keep some records as secrets on the punk scene, but John Lydon was into [founding member of Van der Graaf Generator] Peter Hammill. There's an idea that people would hide their Genesis records and get out The Damned ones if people came round. I didn't hide mine, although I didn't play them to Ian when he came round. They're a funny band, Van der Graaf Generator. At the time, with Pawn Hearts, all of your mates would say: "Ooh, there's a track that's three days long… it's pixie stuff". But 'A Plague Of Lighthouse Keepers' is completely overblown, like a nightmare with saxophones. I suppose it's the ultimate prog-rock album: it's really overblown, but still of the terrifying. I really like Peter Hammill. He's another guy who's really unique - he has a really individual way of singing, and it's very raw."