"For me, Blade Runner is the best science-fiction film ever made. Although I did just speak to StarWars.com the other day, and Star Wars was the best science-fiction film ever made. Blade Runner, for me, was the most fully realised world. Sometimes you see films, not just science fiction films, where you get the sense that if the camera were to pan just to the left or the right all of a sudden you’d be seeing light stands and crew standing around. But with Blade Runner, the beauty of it is that it felt like a real, breathing city. Science-fiction cities in general, I think, are so hard to get right, because it’s so easy to just play some cheesy music or do something that takes you right out of it, but Blade Runner got it right, and I love that about the film. It’s a great film as well, the performances are all amazing, Rutger Hauer is incredible in it. He’s never been as cool and sexy in anything since. Harrison Ford is grim and just a great protagonist. It’s just a brilliant sexy film. The sense that there is a real world beyond the frame of the camera is something that I want to do with my next film Mute, that’s going to be very much my love letter to Blade Runner. It’s a future Berlin thriller, and it’s exactly that element of Blade Runner that I want to capture in my film."

"Arthur Verocai is interesting. I think that this record came to it came to America at a certain time; a lot of the vinyl doesn't make it around the world from Brazil, and it makes them even more precious because it can be some grand work that may never have seen the light of day. I think this was one of those moments where somebody was like 'this album has to be heard', they pressed it up and made it a point to bring it over to America. The record sounds very much like I can understand what is happening and what is being said, even musically, something about it is bigger than the part where it's in Portuguese. I listened to it relentlessly, I would listen to it back to back to back for years. I still do listen to it that much, and every time I do it feels brand new. I think that this is something that inspired me throughout the years to make music the way that I make music. Arthur Verocai's pretty old now, but every once in a while he comes over to the States and does something special. I think he was brought over to the states for the first time a few years ago, and I was out of town and I'm so sad I missed it. I would have loved nothing more than to get a chance to see Arthur Verocai play live, but sometimes that's how life works."

"I hate saying this, but it did what it said on the sleeve! It was them two and it was a lot of drums. It was one of the first records I would listen to because a lot of jazz drumming is very difficult and complicated, if you listen to somebody like Buddy Rich you can't help but think how does he do that; what is he doing? How do you do that? It's very complex which always scared me off. Kenny Clare and Ronnie Stephenson had that same technical proficiency but they didn't use it the same way. They were much more in the mould of Gene Krupa. The parts that they'd play were very musical. I don't know if they were musical to people who weren't drummers, but to me it all made sense. Some of the stuff they did was almost melodic, like patterns on the toms and breaks, and then just trading off each other, which I thought was pretty cool because it was like hearing two people being inspired. Again that was something that really came in with The Damned, with Brian and me. It was almost like a competition sometimes: he would play something and then I would go okay, if you're going to do that then I'm going to do this. And I think that probably came to us from listening to these drum battles and taking on the mentality of that; feeding on what's going on around you, regardless of what it is."