"I got into that around 2008. That again was all about hopelessness, there was some positivity in there, but I think he had a lot to say on this album. He never bettered it. That second track, the line, ""Cuz you never know when you're going to go!"" Chilling, really. I haven't listened to it for a long time, but you have the sense of a cold afternoon in the projects, an afternoon spent doing nothing, walking up the stairs to your apartment, the hopelessness of being a young black kid. He wasn't really a funny guy, Nas. But brutal. He must have been educating himself. Books are a great source, aren't they. Some literature was held in some circles, myths about certain books, what I tend to find with a lot of rappers is this religious connection, even though some won't admit it, black culture is very connected to religion, more so than white people. It's kind of that as well, the fear of the wrath of god."

"It's just fucking mental! I saw it in the cinema at the time and I remember getting up to leave and then the hand coming out of the grave! So great. It goes back to what I was saying about a lot of teen films being about the different kid, who stands apart from their peers. That always resonated with me. I wasn't unpopular as a teenager, I was fine. I wasn't bullied or anything, but I did stand apart from my school mates, because I didn't want to go along with the peer culture in every single sense. I didn't like people telling me what to do, I was too independent. So films about outsiders are always tops in my book. And of course poor old Carrie is a text book example of evangelistic religiosity turning sour. It's the most amazing revenge film ever. I interviewed Kurt Cobain and he said 'I'm the guy that would be most likely to kill everyone at a high school dance' and I said, 'you mean like Carrie?' He really liked that."

"When Peeping Tom was released in 1960 it was savaged by critics who’d seen the film at a special press screening. Those British critics must have been outraged with Michael Powell, whom they had trusted as a director who would reinforce their British identity and value system. That trust must have been completely broken by this scathing indictment of voyeurism and extreme violence. There are many similarities between this and Alfred Hitchcock’s Psycho, released the same year, and Hitchcock shrewdly avoided press screening his film after having seen Powell’s fate just a few months before. Powell’s career was over, with the exception of a few obscure projects, but the culture of slasher films was just beginning. And whether people realized it or not, this was ground zero. Critical reappraisal of Peeping Tom has secured the film where it belongs, in the category of crucially important cinema. Personally, I prefer Powell’s film to Hitchcock’s, but both should be regarded as examples of great horror cinema that demands critical thought and analysis."