"A gloriously ludicrous slice of 1980s cinematic fromage. Between the infectious Queen soundtrack, eye-popping Technicolor special effects, super hot Italian space princess, outrageous production and costume design, a deranged Max von Sydow spitting eminently quotable lines, and a leading man whose principle qualification was being a Playgirl centerfold, this movie had it all. I must’ve watched it fifty times when I was a kid. It was on a near-constant loop in our living room Betamax. One of the great many things I love about being a father is sharing my beloved childhood experiences with my kids. I was so giddily excited to watch this movie with my children when they were old enough. I couldn’t wait. They turned it off halfway through. I spent the next twenty minutes trying to convince them how awesome it was. They weren’t having it. My kids have terrible taste."

"Hearing this Leonard Cohen stuff, after listening to the Red Hot Chilli Peppers it was like ‘this sounds like bullshit!’, I didn’t understand the layers of intellect that had gone into making that record, and the large element of humour. My dad is into Leonard Cohen, I remember hearing the older stuff, then my sister was getting into it because she was becoming very literary. I was basically absorbing Leonard Cohen but I wasn’t crazy about it. I remember hearing ‘The Story Of Isaac’ as a child and thinking ‘god, this is fully intense, it’s so bare’. I remember hearing I’m Your Man it and at first finding it a really odd, unenjoyable experience, but now I realise that it’s a very curious idea, this industrial Leonard Cohen record, it’s really cool! ‘First We Take Manhattan’, imagine being a musician and being able to put a song like that out."

"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."