"What a great songwriter and lyricist Shane MacGowan is. It’s funny as last night I was going through some of these again to listen to them, as they’re maybe records I hadn’t listened to for a while. Rum Sodomy & The Lash is one I hadn’t played for a while, but I knew it was one I’d played to death at different points in my life, so I thought “I’ll go back and listen to that again, I wonder if it does hold up”. There are other records that I thought would make the list that didn’t make it, that I still thought were good and I can appreciate why I loved them when I was 16, like Fresh Fruit For Rotting Vegetables, which I still think is a great record, but there’s something that makes Shane MacGowan one of the greats of the century, like 'The Old Main Drag' – you don’t know when it’s written, like 1912 or 1982, you know? Very few people can write songs like that. Music that is specifically about place and characters yet it seems timeless. To pull that off is astonishing. Also they saved folk music from the twats; unfortunately they seem to have reclaimed it in recent years. Suddenly folk music became violent and soaked in whiskey again as it should be! In a way that the Irish community in London are neither Irish nor London, they’re just their own thing; The Pogues were neither punk nor folk. Shane McGowan’s delivery – he can take a song like Ewan McColl’s 'Dirty Old Town' or 'A Pair Of Brown Eyes' or 'The Band Played Waltzing Matilda' and give them a poignancy or life or meaning, or a dirt and raw-bloodied abrasiveness which most performers could never bring to a place like that."

"The longer I live and the more movies I know, the more I love Stanley Donen. However, I fell in love with this film as a child. I went to see it because—well, because I saw everything that came to the Paramount Theater (or the Capitol) in Ashland, Kentucky. But I was especially primed for loving this movie because I was enamored of Audrey Hepburn as Holly Golightly—I had seen that movie ten times the previous year. But Charade was a very different movie from Breakfast at Tiffany’s, and for a little girl—and for that time—it was very violent, and it scared the hell out of me so much that I thought James Coburn was in my closet at night, and I made my mother go with me to check if he was there before bedtime. Nevertheless, I went back for more every weekend until its run was over. I loved the witty romance between Cary Grant and Audrey, and I loved Paris as much as I had loved New York in Breakfast at Tiffany’s. And the mystery works! And I loved that so much I went back again and again, even if it scared the pee outta me. On the DVD, director Stanley Donen and screenwriter Peter Stone banter amusingly from a long friendship together on the long process it took to make this film. Stone makes the great observation that when you write a mystery, you make it for a second viewing. And if the audience says, “That’s a cheat,” then you didn’t do it right. But if they see it a second time and say, “Oh, it was there all the time, and I didn’t see it,” then you have something. This film has all that and more—i.e., the best clothes ever!"