"This album will be fifty years old next year, yet the Beatles’ originality, passion, and virtuosity remain undiminished, if not enhanced. (No second prizes after the Beatles.)"

"No examination of cinematic suspense and visual storytelling would be complete without Hitchcock, and his technical virtuosity in ‘Foreign Correspondent’’s portrayal of the downing of a plane at sea provided inspiration for much of what we attempted in ‘Dunkirk.’"

"I’ve read, reread and loved this book most of my life. It never disappoints. Twain writes with an easygoing virtuosity that makes American English the equal of any King’s. This is the book that codified American English, not Moby Dick or The Scarlet Letter. Those two great books are American Literature. Huck and Jim are America. The seeds of the tragedy of racism are planted on nearly every page of Twain’s masterpiece. Those birds are still coming home to roost."

"A vanguard film (again). 1957. A great love story. But mostly a work of overimpressive technical virtuosity. Breathtaking crane shots, hair-raising forest sequences (with a memorable rotating low-angle shot of trees dissolving into one another), an amazing and very swift traveling shot (captured from a tram in movement) in which the lead actress dives into a crowd, looking for the man she loves. We follow her, and once she is stopped by a fence, we tilt up fluidly, and end the scene with a great ensemble shot. Superb art direction, superb lighting, with curtains flying in the wind, hiding the face of the actress, partially lit with lightning flashes. A true work of art. Tatyana Samojlova, who won an award at Cannes for this role, is brilliant and touching, and delivers a rather minimalist performance for its time."

"Virtuosic camera movements and demonstrations of technical originality, while impressive, can often do just as much to pull the viewer out of the experience as into it. One becomes absorbed by the mechanics on display, rather than gripped by the characters and their fates. In the case of “1917,” however, it is exactly the virtuosity of the filmmaking that makes the movie so exceptionally gripping. All of the cinematic elements, from the unique visuals to the rousing score, come together to give the audience a monumental, visceral sense of participation in the protagonists’ mission. As a viewer, I am intensely bound to the characters throughout the film. Their story is a relentless, brutal and violent experience — we’re in the foxholes, in the mud, with the corpses in the waterholes, running across rotting horse carcasses ­— and it all feels so real that you can smell the dead horses and burning houses. But amidst all the violence, there are small moments of kindness that moved me more than anything; moments that encapsulate humanity at its finest. The two soldiers in “1917” are far from classical heroes. They are afraid, confused and insecure. But their innocence, their love and their willingness to do the right thing, make them the most touching heroes I’ve seen in a long time. Watching “1917” is a weirdly humbling experience not because of its incredibly cinematic qualities, but because its portrayal of human dignity is so profound and moving. It keeps playing in the back of one’s mind, long after the projector turns off."

"I think it was Mike [Harding] from Touch who first introduced this to me. He said, 'You'll love it, and it's an unbelievable price' which is quite a killer combination if you like collecting things. I bought it and he's absolutely right. It's a master: there's no ways about it, you're hearing virtuosity, ensemble playing to the highest degree. It knows itself inside-out, which means you get this feeling of how it stretches and breathes. Basically if I'm wanting to listen to something from it I close my eyes, fumble around and take one of the six discs out so it's a surprise. Otherwise you can find something for the morning, a raga, blah blah blah. But these are just the most extraordinary devotional love songs. It's from a tradition which has been going on for a very very long time. It's not a part-time job at all; these are people who are dedicated. It's fantastic. I think it's truly inspiring in the sense that it's through listening to that that I've come upon solutions to things that I've been working on myself. It's the peculiar thing: you wake up in the morning having gone to bed with a problem or you're working on something that you don't quite know what the solution to is, and when that marvellous thing happens that all the work gets done in your sleep, it's just the very best. I had an example of that happening with this record. When Dietmar Post and Lucia Palacios were making the Transatlantic Feedback film about The Monks, in order to get the editing done they asked people if they would contribute a cover version of a Monks track. From the proceeds of that they were able to finish the editing. I was working with a Swedish friend of mine who'd introduced me to The Monks so much later than everybody else. I said he had to choose the song, and he picked 'Oh, How To Do Now'. I listened to it over and over so it got into my head and my conclusion was that we certainly can't do it like that, because the narrator of the song is obviously a young man who has extremely sexual feelings for a young lady and I thought it'd be highly inappropriate for us to pursue that angle. How do you get an in? I woke up the next morning and thought, 'I know what to do'. I rewrote their text and took the emotion down, made it more devotional and I thought, 'Ah, that's it, it's like Ali Khan'; you change it into that, so in fact it has one phrase that's basically stretched over half the song, and the other part fell into place. It's either the love or the devotion but also the sense of melody, really stretching out lines. That's an example of it being inspiring and useful."