"All these stories piling together and crossing over — I think that is the simplicity of life — these five degrees of separation that divide us all. I think it was a great cast of people; it’s a good story. Films that I enjoy are films that tell stories and not necessarily on the bounds of believable, but in life, anything can happen. I like action films. I guess Pulp Fiction is fairly violent, but I’m an action film kind of guy. It depends on what I’m in the mood for when it comes down to it."

"John Barry is probably my number one, I got him to play Meltdown when I did that. I was trying to get him to play more obscure stuff from his catalogue but he wasn't into it at that point in his life. I like this album because you've got his soundtrack stuff and then you've got songs like 'Old Man Willow' that sound like Broadcast. Soundtracks don't always work as albums because they tend to repeat the theme so much that they're not that exciting to listen to, but this one doesn't do that. I think there's one song I'm not that bothered of, 'He Quit Me' at the end of side one, but it just works as an album. There was a record shop in Sheffield called Rare & Racey that only closed down a couple of years ago, you could get pretty cheap second hand records and I picked this up there and played it to death. It probably did have an influence on Pulp, I really liked the sound of it. It's not so much on this record but he used a dulcimer on The Ipcress Files soundtrack, and that definitely influenced the Pulp song 'I Spy', there was a definite attempt to make it sound like that in the background. "

"The first time I saw this film I thought there’s no way Tarantino wasn’t influenced in some way by Repo Man when he was making Pulp Fiction. This type of genre mash-up, a film that has unapologetic fun and is blissfully self-aware, is the kind of vibe I am always pulled to as a filmmaker. It's also insane that he made the film—as a student, for no money. The Criterion packaging for this one, with the comic inside, is one of my favorites. I showed it to the distributors when I was packaging A Girl Walks Home Alone at Night."

"This dark, fast-paced novel is a visionary masterpiece. It’s populated by hackers and cyberpunks, Gibson’s creations that have since become fixtures in the electronic matrix. I first read the book in the mid-1990s, when the Internet was beginning to wrap itself around all of us, and I read it with increasing excitement—but not without some difficulty. Gibson doesn’t bother to explain his terms or lead the reader by the hand through the puzzling dislocations of his futuristic landscape. Neuromancer is pulp fiction, but it’s guided by a hip wisdom about a baffling phenomenon that was only beginning to take shape."