"A bunch of nuns move into a wind-addled old pleasure dome in the Himalayas and have trouble remembering their vows. The air is set aquivering by the most innocuous male approach to their world—even Sabu seems to shake their virginal resolve. And even I have trouble keeping my priest’s collar straight as the unspoken pressures build up to boiler-breaking levels. Technicolor at its most eye-popping!"

"A classic, and I grew up loving Judy Garland, and Bert Lahr is an amazing actor. As a child I watched it over and over again. It just represents the magic of moviemaking. I love how it goes from black-and-white to technicolor. My dad was a big Judy Garland fan growing up, so we would hear all these stories about her and the old studio system, so that’s one of my favorites."

"The fifteen-minute ballet sequence is so unforgettable. The cinematography is rich in a painterly, reddish-hued Technicolor. I resisted seeing this movie for years, thinking I wouldn’t be into it, but ended up completely absorbed and fascinated. Now I’ve seen it many times and still can’t get over how amazing it is. The ballerina played by Moira Shearer is torn between two men, and strangely, it’s the villain who I find myself rooting for."

"Hey, storytellers: if you’re adapting a classic, this is film school 101. Never before or since (though I love Black Swan for trying) has anyone achieved what Powell and Pressburger did here, in terms of character and theme. Add the beautiful work of Jack Cardiff and you achieve something of which I, personally, can only hope to replicate a glimmer as a visual storyteller in comics and animation: Technicolor atmosphere that conveys immediate emotion and also has a lasting impact."

"Singin’ in the Rain. I’ll put that up there. I now watch that with kids, which I love. I’ve always loved that film. My five-year-old son loves the “Make ‘Em Laugh” sequence as much as I ever did, and that’s just delightful. It’s a wonderful film about film, which is so often a great source of enjoyment. In glorious Technicolor. I don’t know. It’s funny — I’m sort of now re appreciating it through my kids but the scene where the dubbing goes wrong and sort of saying, “Yes, yes, yes,” and, “No, no, no,” into this sort of giant microphone. It seems to be timelessly funny, that. It’s adorable."