So much in TV today, you don't get to feel empathetic for the villain. The villains are the villains and the heroes are the heroes. It's very black and white.
We must never allow demagogues to divide us up by race, by religion, by national origin, by gender, or sexual orientation. Black and whites, Latino, Asian-American, Native American, Christian, Jew, Muslim, and every religion - straight or gay, male or female - we must stand together. This country belongs to all of us.
Colonization was the idea that once slavery ended African-Americans should be encouraged - or required, in some people's view - required to leave the country. It's part of an attitude toward the abolition of slavery which says America should not be a slave society, but it can never be a multiracial society. You can never have free black and white people living together.
Now 3D is no longer a fad but I don't get all crazy about it and say that everything has got to be in 3D. It is a nice tool, like color or sound or whatever. I was quite intrigued and I learned, 3D opened up a lot of questions about how to use it. I think it is great. It's like if a movie needs to be in black and white then that's how I will shoot it. I see color as just another character or black and white as a character.
The whole basis of working in black and white and grays became the basis of my understanding of color, because it's all about tone, it's all about light and dark. If you don't get that, then your color work is going to be a mess. So that's the beginning of the toolkit: drawing and black and white media.
Another reason for switching to color is world television. In a few years, it will all be in color, and you can't compete against that with black-and-white films.
There's no black and white dividing line between a mild Aspergers, which is the mild autism, and computer engineer, for example.
Salafi is a very broad concept in Islam. What we have now is, like, for example, the Nour Party in Egypt or the Salafi in Tunisia are people who, in fact, we call very often Wahhabi, following the Saudi school of thought and law. And they are literalists in the way where it's black and white, there's a very narrow interpretation of the scriptural sources. For decades, we knew that they were there, but they were not involved in politics. What is completely new for all of us over the last years is that they are now within the political arena and playing the democratic game.
My father was very political. But he told me, "Be very careful when you get into politics, because there's no black and white. There's an in-between in everything. So look at that side, don't take one point, because then you are negating half of the other people. Try to find the logic on a problem, something that you believe, and take the position that you believe, but be very careful about it." So I was very well trained in that aspect.
Whether we're talking about what the role of the government is, what you think of the United Nations, political leaders or how to respond to [Hurricane] Katrina and whether it had anything to do with race, across a wide variety of issues we see differences between mainstream black and white American opinion that dwarfs anything in American public opinion, period. Democrat versus Republican, men versus women, conservative versus liberal, the black/white divide is the biggest, one of the biggest in the world, and certainly the largest gap in the United States.
Katherine Johnson never complained, it just was what it was. She just said, "I just wanted to go to work and do my numbers." And she stopped right there. I think about that as a Black woman in Hollywood when I'm asked about diversity. I hate when people say diversity because the first thing you jump to is Black and white. When you talk about diversity, you're talking about women being hired in front of and behind the camera. You are talking about people with disabilities, the LGBTQ community...so I hate when people think about diversity.
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.
Looking back, the way I see it, there was something slightly deluded about my belief - what that meant to me - but with that delusion came of lot of happiness. Life was really black and white: if you do these things now, God will you invite you to his house where you will love forever and everything will be happy forever. That's what I believed, and that makes life pretty sweet. I do miss it.
I am astounded at my age with a 20-year-old daughter to discover that kids of her generation don't want to watch black and white movies. I understand that they gave up on silent films, but black and white? So, now movies have to be taught in academia because people don't know how to watch them, they don't know how to appreciate them.
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.
There's something strange and powerful about black-and-white imagery.
People approach people of color with preconceived ideas. I don't think this is just restricted to white people, but I think that lots of black and white artists, when race is a subject matter, they put race or the ideology around race first. They don't see the person and the complications of the human being.
Americans have an interesting conundrum, a black and white line: You're on one side or the other of Puritanism or licentiousness. But that gray area where people abide, between their ears or on the Internet, needs to be fleshed out more in terms of permission granted. I think a lot of women are contained within the parentheses of shoulds and role-play. It's all about entitlement and history. It's all about upper-body strength - and exacting your will.
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 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 got married to Chris Sarandon, who was a graduate student, and he knew everything at that point, I thought, because he was older. He introduced me to poetry and black-and-white movies.
Use what you have, use what the world gives you. Use the first day of fall: bright flame before winter's deadness; harvest; orange, gold, amber; cool nights and the smell of fire. Our tree-lined streets are set ablaze, our kitchens filled with the smells of nostalgia: apples bubbling into sauce, roasting squash, cinnamon, nutmeg, cider, warmth itself. The leaves as they spark into wild color just before they die are the world's oldest performance art, and everything we see is celebrating one last violently hued hurrah before the black and white silence of winter.
I had been doing wall drawings, but they were always black and white. Then in 1993 I painted all the walls of a room to make an installation and as soon as I saw the colour on the walls, it changed my whole life.
It's overshadowed, the art. We're in a really argumentative, black-and-white-thinking culture right now. There's not a lot of time to take things in.
Fabio Celon did send me pages as he progressed, both in black and white and some color samples as well. It was really exciting to see the sketches and to see the story [The Kite Runner] shaping up visually.
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