Best 3019 quotes in «color quotes» category

I think if people genuinely want to help ... that'll shine through, no matter what color or what race. We cannot see race before compassion.

I think if you look at Hollywood as a whole and the type of content that they put out over the years, it's pretty homogeneous, right? They haven't done a really deep dive into a lot of stories of people of color. I don't want to say that there haven't been attempts, and there has been some great product that has come out over the years, but I think in 2016, we're in a world of struggle. It's not just about race, it's also about the LGBT community too and others.

I think I'm plain. I'm normal. I'm plain. I try not to stand out. I don't wear colors.

I think it doesn't matter what color you are. Everybody is getting the - getting the stick, and I'm sure Trump feels the same way.

I think it's a great time to be a person of color and with talent. And actually, to be a woman as well. Our show is one of the most diverse television shows on television right now.

I think it's too easy to just say that there is a direct and necessary conflict between black identity and gay identity. I think it's more nuanced than that simply because I think black is a color and then people layer on top of it all kinds of socio-cultural elements.

I think it's really useful to create parameters. The term you use can be forwarded into something more like a grid, a rubric, a system that you apply to all environments, and in so doing you create a situation in which you can locate local color, local differences within new environments.

I think it was just an opera. Now, you go to opera, you expect to see and hear what the opera is. So, it was Catfish Row. It was singers. Marvelous voices. It didn't make no difference what color they were

I think life is cotton candy on a rainy day. For those who grew up with cotton candy the old-fashioned way, it is very delicate. Pre-made cotton candy that has preservatives is not nearly as good or true. True cotton candy is sugar, color, and air and it melts very quickly. That was the metaphor - it can't be preserved, it can't be put aside, it can't be banked. It has to be experienced, like life.

I think men spend so much time passing for being men. There's a sense among many writers of color that the most invisible figure that was sitting between all of us was the nerd. But it was the thing we weren't saying, that people were afraid to say, like, "Yo, what we do is nerdy by definition.

I think of color as being seen in and throughout, not solely on the surface.

I think of painting as possessed by a structure... but a structure born of the flow of color feeling.

I think people are like that. When you really look at them, you stop seeing a perfect nose or straight teeth. You stop seeing the acne scar or dimple in the chin. Those things start to blur, and suddenly you see them, the colors, the life inside the shell, and beauty takes on a whole new meaning.

I think television is one of the last real bastions of the white beauty standard, but still in many industries the workers can be replaced by someone who's willing to play the game or who looks like the person in charge. And this is a problem for all women, not just women of color.

I think that a woman wears so many hats, we have so many aspects to us that we're not just one thing. We represent so much within us and that kind of comes across for me as a designer through mixing prints and colors.

I think that I'm very old fashioned in terms of my film references and what appeals to me, in a way with camera moves and a depth of color to bring things to it.

I think that sexual pleasure and the weird color of the sky after a storm or the stream of tail lights across the bridge or the way silence can thin or thicken before music starts - all these things have to be harnessed by the political. The libidinal has to be harnessed by the political.

I think that the best movies are made, not from a point of view that depends on your personal history, whether it's the color of your skin or the politics that you had or the place that you come from, but from a point of view of an understanding of human nature, an understanding of history, and an understanding of what motivates people.

I think that we will come out on top as women, as people of color, as Muslims, as transgender people, as people who are part of the disabled community - I think that we'll come out on top.

I think the names of colors are at the edge, between where language fails and where it's at its most powerful.

I think the fashion industry was slightly put off by people they didn't know. They were presented with things like 20-gatefold color brochures.

I think the more the listener can contribute to the song, the better; the more they become part of the song, and they fill in the blanks. Rather than tell them everything, you save your details for things that exist. Like what color the ashtray is. How far away the doorway was. So when you're talking about intangible things like emotions, the listener can fill in the blanks and you just draw the foundation.

I think the legacy of the civil rights movement is that now whites are more open to being represented by people of color or people who are women or, again, non-traditional candidates.

I think the ultimate sense of security will be when we come to recognize that we are all part of one human race. Our primary allegiance is to the human race and not to one particular color or border. I think the sooner we renounce the sanctity of these many identities and try to identify ourselves with the human race the sooner we will get a better world and a safer world.

I think theres too much saturated color in comics, thanks to digital color techniques.

I think the world is ready for people of color to take on more heroic and leading roles, and not always be the sidekick, the nemesis or any sort of stereotype of what a person of color can play typically in a Hollywood picture.

I think viewing people by the color of their skin is one of the dumbest ways to view people.

I think we should all come together, and that race and color or social demographics really don't matter.

I think we're entering a new period of filmmaking that's analogous to switching from black-and-white to color, or from silent to sound. The medium is completely flexible, and it's not bound by anything. If you imagine something, you can do it.

I think we're starved for a life of the senses. We're in the garage, we're in the car, we drive to work, we're in a windowless cubicle that's gray and beige. In a way, it's funny that we consider ourselves an advanced culture, because people who live in so-called primitive environments still enjoy the richness of the smells, colors, and sounds of our world. We all crave that.

I think words speak to us even though they may be written on a wall. So we hear them in our mind. We say it to ourselves. But they are also visual things. You draw them. They are designed. They are colored. They have a certain size. I put them in a certain place. So they are objects that have to be - artistic decisions have to be made in terms of the color and the size and the line and whatever.

I think white is the most wonderful color of all, because within it one can find every color of the rainbow.

I think you'd be pretty in any color."-Posy to Octavia

I think young people have a wonderful reaction to color because it's not screwed up by too many references.

It is essential that the painter should develop not only his eyes, but also his soul, so that it too may be capable of weighing colors in balance.

I thought that it would be easier to learn that if I worked in motion pictures. So I went to work with one motion picture producer who was developing a color system. This didn't do to me much good. All I did was pick filters for the camera.

I thought that was a pretty stupid argument, really, because it's the final product that matters. The look of the film, however it's done, is still the cinematographer's vision in my mind. People said the same when color film came in, didn't they? The world evolves, and image-making evolves.

It is an absolute impossibility in this society to reversely sexually objectify heterosexual men, just as it is impossible for a poor person of color to be a racist. Such extreme prejudice must be accompanied by the power of society's approval and legislation. While women and poor people of color may become intolerant, personally abusive, even hateful, they do not have enough power to be racist or sexist.

It is generally admitted that the most beautiful qualities of a color are in its transparent state, applied over a white ground with the light shining through the color.

I thought Alchemists avoided alcohol the same way they do primary colors.

It is deeply unfair to task writers of color with unique responsibilities that we don't assign to all writers.

It is general knowledge for anyone interested in color that subdued value, intensity and hue make for quieter, less adventuresome interiors. Stronger approaches need stronger knowledge, more experience and flair.

It is horrible to see everything that one detested in the past coming back wearing the colors of the future.

It is exactly in the repetition of the exercises that the education of the senses exists; not that the child shall know colors, forms or qualities, but that he refine his senses through an exercise of attention, comparison and judgment.

It is my mind, with its store of images, that gives the world color and sound; and that supremely real and rational certainty which I can "experience" is, in its most simple form, an exceedingly complicated structure of mental images. Thus there is, in a certain sense, nothing that is directly experienced except the mind itself. Everything is mediated through the mind, translated, filtered, allegorized, twisted, even falsified by it. We are . . . enveloped in a cloud of changing and endlessly shifting images.

It is necessary to introduce light vibrations, represented by reds and yellows, and a sufficient amount of blues, to obtain an airy feeling.

It is not bright colors but good drawing that makes figures beautiful.

It is not easy to get parts in mainstream films for most people of color. Hollywood and British writers are not writing parts for us, or the directors are not interested in casting us in parts that are color-blind.

It is not enough to place colors, however beautiful, one beside the other; colors must also react on one another. Otherwise, you have cacophony.

It is not by his mixing and choosing, but by the shapes of his colors, and the combination of those shapes, that we recognize the colorist. Color becomes significant only when it becomes form.