"This is a film about a man’s rebirth. It was made in 1952 and is set in Japan’s postwar rebuilding period. Kanji Watanabe is a man trapped in the dreary bureaucracy of his job and life. When his doctor tells him that he has terminal cancer and a short time to live, he decides to change his life. He first tries going out on the town drinking in nightclubs and spending time with a young woman. This is a beautifully seen relationship that soon ends in disappointment. It is not until several poor women come into his office to complain about the terrible conditions in their slum neighborhood that he realizes how he can give his life meaning. In his quiet way, he uses the bureaucratic system he knows so well against itself. In the end he is able to establish a playground for the children of the slum. His selfless action in the last days of his life makes him a hero. At his funeral, his workmates try to claim the creation of the playground as theirs, but when the community show up to pay their respects, there is no doubt who acted for the greater good. For me, one of the most powerful and moving images in the film is the flashback during his wake. In this flashback, we see Kanji from behind, sitting on a swing in the snow in the middle of the playground. This film is about how fleeting life is and how important it is to be personally creative and to live every moment like it is your last."

"I had this back in the days when The Monkees were a TV show and they were everybody's favourite. Every Saturday you'd rush home to watch them. Bear in mind that television then was three channels, and so pop music in any sense was really limited. There was Ready Steady Go on a Friday, Top Of The Pops had started, but you didn't get a lot. You didn't get a lot of kids with guitars, especially with long hair and flared trousers that were glamorously American. But the real thing came when the tunes that they had were so good. Every week you watched the show and every week there'd be a great song at the end. You had to have one of their records, and this was the album that I had. There are so many varying styles of songs on this record. You'd go from syrupy ballads to something a lot tougher, but most of the character in the work was really about the melodies and the tunes, many of which were written by Neil Diamond and people like that. It was weird that there was that whole stable of people sat in an office from 9-5, writing tunes. But they understood how it worked and how to do it, whereas with The Damned, for example, we didn't really get arrangements or dynamics when we tried to write until later on. But when you heard that variation in, if you like, quality music- and it was quality music, The Monkees, even though saying that would've got you hung back in the 70s- it made it okay to be diverse. So when The Damned moved on and we started getting to Machine Gun Etiquette and Strawberries and those kinds of records it was fair game to do something that wasn't a raucous three chord punk song, because we'd grown up with all of these bands that I'm talking about, and actually they all seemed to show an element of that. So it rubbed off."