"The perfect comedy, all the successful elements are there. Especially an amazing casting: Tony Curtis and Jack Lemmon, and as if it wasn’t enough, Marilyn Monroe, more beautiful and sensual than ever. You have to follow this movie with its insane glam, frenzied rhythm and beautiful black-and-white cinematography. You can’t do much better in terms of American comedy, all eras included."

"This is an amazing collection of black and white photos of life on the city streets in the summer that really inspired me when opening Streetbird Rotisserie in Harlem. The block party is something so quintessential that I love about living in NYC, and this book gets the vibe, the people, and the community just so."

"Carol Reed’s black-and-white tale of postwar Vienna is a perfect storm of dialogue, music, photography, and production design. Although the most celebrated moment is the reveal of Welles and that sly smile, for me the moment that makes the film is the final shot when Alida Valli just walks right by Joseph Cotten. Damn."

"I like the classics! I like a pretty eclectic mix actually. But if you want a great old movie, this is it. It’s in colour but it always feels like a black and white movie to me. It feels like a film with great history in it, and it’s got great style."

"The strangest film. I’ve been fascinated by this film since the first time I saw it. Since my subconscious is populated with these images and these visuals impressions, it’s hard for me not to put it in the ten best films. Its black and white makes me think of a modern Maupassant."

"It was on the radio, I was just getting it, I was thinking, 'Fuck, what is that? Who is that?', it was so different. I would say 'Black, Brown and White' is my favourite song. It was played on BBC radio, and at the time - he said it himself - that he couldn't record it in America, so I think he recorded it in France, because they said it's too controversial. Even black friends of his said, 'Don't you stir up the shit here! We could get repercussions.' But I thought he put it... He was just stating a fact. He wasn't saying 'you white bastards' or 'the whites won't let us', he wasn't saying anything like that. It's just 'me and a man was working side by side, this is what it meant, they were paying him a dollar an hour and they were paying him 50 cents'. You know, he said, 'If you're white, you're alright, if you're brown stick around, but if you're black, get back.' Which I thought was tremendous."