Best 530 quotes in «black and white quotes» category

I learned to slip back and forth between my black and white worlds. One of those tricks I had learned: People were satisfied so long as you were courteous and smiled and made no sudden moves. They were more than satisfied; they were relieved -- such a pleasant surprise to find a well-mannered young black man who didn't seem angry all the time.

I like black and white films. I don't exactly know why - probably because there is a stylization which is removed from actual life, unlike a color film.

I like boring black and white films with subtitles. I'm basically a drip.

I like contrasting between black and white and color.

I like Jailhouse Rock and Love Me Tender. The black-and-white films. With music, I tend more toward the '70s stuff because I was at the shows for those, so they bring back memories.

I like making black and white films in natural surroundings, but I much prefer shooting a color film inside a studio where the colors are easier to control.

I like playing human beings - I don't believe in good or bad. I don't believe in black and white. I believe in different tonalities. I believe in different layers of emotions and states of mind. I believe in characters that can be human.

I like the way Quentin Tarantino creates a scene using a series of close-ups or showing very cool images of a person or people walking on some ordinary street in slow motion. I wish I could achieve that kind of slow-motion effect in manga, but it's rather difficult to draw; the only things we can play with are tones of black and white.

I love... anything in black and white. Just put it on the TV, I'll watch.

I love beautiful black-and-white movies - anything Bette Davis, especially Now, Voyager, Casablanca, Mildred Pierce; anything by Orson Welles, Truffaut, or Godard; and Paper Moon by Peter Bogdanovich.

I'm normally late, so I just kind of throw on the sort of thing that's at hand. And then I'll go through phases of wearing the same thing again and again and again. My wardrobe is mainly about black and white, so it goes together. I'll play with certain elements, but it's - I don't really think too much about it.

I love to unwind and watch movies, especially those from the classic black-and-white era.

I make black and white prints because I want to go back to the beginning.

I met Michael Snow and Stan Brakhage the second day after I arrived, you know. I had never seen or heard of Brakhage. For me, it was a revolution, because I was well educated in film, but American-style experimental film was known to me in the abstract, and I had seen practically nothing. I had seen a film then that Noël Burch had found and was distributing called Echoes of Silence. It was a beautiful film, three hours long. It goes forever and it was in black and white, very grainy, and I saw that film and I thought...it was not New Wave. It was really a new concept of cinema.

I love black-and-white movies that are about contemporary subjects.

I love seeing people's reactions to gifts that I've created from my line, such as my gold horn ring, bottle openers, my 'Fallen' leather jacket and my Slither black and white sweater.

I love to snuggle up on the sofa wrapped in my duvet watching old black and white films, and catching up with friends and family on the phone.

I made this movie for $40,000, which was this little black-and-white horror film called Dementia 13, which we made in about nine days.

I'm always astounded at the way we automatically look at what divides and separates us. We never look at what people have in common. If you see it, black and white people, both sides look to see the differences, they don't look at what they have together. Men and women, and old and young, and so on. And this is a disease of the mind, the way I see it. Because in actual fact, men and women have much more in common than they are separated.

I'm not interested in edges. I'm interested in the mass and color, the black and white. The edges happen because the forms get as quiet as they can be. I want the masses to perform. When I work with forms and colors, I get the edge.

I'm pretty selective. I generally edit the contact sheets and then do work prints. Because I have my own lab and printers, I can afford the luxury of going through the contact sheets for black-and-white, making up work prints, seeing them big, and honing them down.

I'm not so in with the prescriptive avant-garde agenda. I can do that sort of thing, but I feel that I'm still interested enough in song structure. When I look at a lyric on the page, the lyric is alive to me, looking like soldiers in a field. I can move it around, and it's very black-and-white.

I'm seeing the world partially through the eyes of a kid. Not all the time. There's no black and white to it. But sometimes I'm seeing it like I'm 4.

I'm sick and tired of black and white people of good intent giving aspirin to a society that is dying of a cancerous disease.

In a culture defined by shades of gray, I think the absolute black and white choices in dark young adult novels are incredibly satisfying for readers.

I’m sure there’s some self-help cheese-ball book about the gray area, but I’ve been having this conversation with my friends who are all about the same age and I’m saying, ‘Y’know, life doesn’t happen in black and white.’ The gray area is where you become an adult the medium temperature, the gray area, the place between black and white. That’s the place where life happens.

In 1982 I bought the newly released Makina Plaubel 55mm fixed-lens camera. With this shift from 35mm to 6 x 7, I also changed from black and white to color. Later that year, I started my project on New Brighton called The Last Resort. However, the first project I shot in colour was composed of urban scenes from Liverpool. This image was on the second roll of film. It's the first good photo I made in this new chapter of my work.

In a way, 'Sin City''s designed to be paced somewhere between an American comic book and Japanese manga. Working in black and white, I realized that the eye is less patient, and you have to make your point, and sometimes repeat it. Slowing things down is harder in black and white, because there isn't as much for the eye to enjoy.

In black and white there are more colors than color photography, because you are not blocked by any colors so you can use your experiences, your knowledge, and your fantasy, to put colors into black and white.

In black and white you suggest, in color you state.

In my essays and articles I have been saying again and again that the case of Israel and Palestine, the case of Israel and the Arab world, and indeed the case of Israel and Europe, is not black and white. It's not a western movie.

I need to get everything straight. I'm not involved in a power struggle between black and white.

I never needed Panavision and stereophonic sound to woo the world. I did it in black and white on a screen the size of a postage stamp. Honey, that's talent.

I never saw music in terms of men and women or black and white. There was just cool and uncool.

In fact, I probably learned more about photography from studying black-and-white photography in those magazines [Look Magazine and LIFE Magazine] than I did from watching movies here. That's the truth.

In general, in all my films, I choose to create a certain mistrust, rather than claiming that what I'm showing onscreen is an accurate reproduction of reality. I want people to question what they are seeing onscreen. In the same way as I used the narrator, I also used black and white, because it creates a distance toward what's being seen. I see the film as an artifact rather than a reliable reconstruction of a reality that we cannot know.

In January of 1969, after a meeting to discuss the leadership of UCLA's new Afro-American Program, [Alprentice "Bunchy" Carter and John Huggins, Jr.] were murdered on campus by a rival black nationalist group, the United Slaves Organization. This shook up all the students, black and white, and made us all realize that what we were doing wasn't just an academic exercise, but had repercussions in the real world.

In movies we tend make things black and white: you're either this, or you're that.

In my teens I saw the world in only black and white. Now I know that most things exist in a certain gray area. Though it took a while to get here, I now call this gray area home. I once believed that participating in a capitalist economy would be the death of me, but now realize that agonizing over the political implications of every move I make isn’t exactly living.

In light this bright, after so long in the dark, everything we can see is only black and white. Only glaring shape-outlines we have to blink against.

In order for us, black and white, to disenthrall ourselves from the harshest slavemaster, racism, we must disinter our buried history.... We are all the Pilgrim, setting out on this journey.

In tragedy, it's hard to find a good resolution; it's not black and white: it's a big fog of gray.

In Sacramento, my brown was not halfway between black and white. On the leafy streets, on the east side of town, where my family lived, where Asians did not live, where Negroes did not live, my family's Mexican shades passed as various.

In school tests, there's only one answer for each question, and you might get zero or half points if you're wrong. But in the real world, things aren't so black and white, so think about things on your own and express them in words or pictures. That's how you communicate with people. That's so important.

In the end, the only heritage we have is our planet, and I have decided to go to the most pristine places on the planet and photograph them in the most honest way I know, with my point of view, and of course it is in black and white, because it is the only thing I know how to do.

In some ways I consider myself more Chinese, because I live in San Francisco, which is becoming a predominantly Asian city. I avoid falling into the black-and-white dialectic in which most of America still seems trapped. I have always recognized that, as an American, I am in relationship with other parts of the world; that I have to measure myself against the Pacific, against Asia. Having to think of myself in relationship to that horizon has liberated me from the black-and-white checkerboard.

In the early days I had a very black-and-white view of everything. I think that's kind of natural for anyone who's just embraced Islam - or any religion - as a convert. It was important for me to duck out of the fast and furious life I'd been living as a pop star. I was in a different mood.

In your late teens and early twenties, everything is idealism. Everything should just work in black and white. That's good. You need that. I think most revolutions are started by people in their teens and twenties.

I photographed the entire thing in color because to photograph it in black and white would be to keep it as a tragedy. Because there is a tragic element to photographing, in this case not war, but the collapse. It was just destruction.

I read that prior to the advent of color TV, most people dreamed in black and white.