Quotes of All Topics . Occasions . Authors
There are only shades of gray. Black and white are nothing more than lofty ideals in our minds, the standards by which we try to judge things, and map out our place in the world in relevance to them.
Workers, black and white, need some kind of international affirmative action to protect them from unfair competition with unorganized or slave labor abroad and unfair competition with robots at home.
We think the Puritans always dressed in black and white, which they didn't. They loved very bright colors. And there were other differences in perceptions that gave one a very different view of them.
When images are in black and white, they seem timeless. When you see Carrie Otis in an ad from 1989 next to an ad with Klara Wester from 2009, you don't see a 20-year difference between the pictures.
My goal was to tell a dialogue between high fashion and streetwear. So, the name Off-White, in my mind, is between black and white. So, that middle ground is a mixture between both genres of fashion.
I think the fun thing about this franchise [Planet of Apes], as storytellers, is that a lot of the franchises are very black and white. This is all about the gray areas; it's really about the nature.
The great black and white draftsman, the sculptor, and the blind man know that form and color are separate. The form itself is what the blind man knows...Color is surface skin that fits over the form.
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 a multi-racial person - I'm black and white - and growing up in North Carolina, I've dealt with a lot of racism. Growing up as a kid, I've seen it. I've been through it in many forms and fashions.
Our world was Northern, black and white, so it was a great thing for my sisters and me to sit down at Christmastime and watch these fabulous MGM musicals. All that color, all those beautiful costumes.
The natural response of the old-timers is to build a strong moral wall against the outside. This is where the world starts to be painted in black and white, saints inside, and sinners outside the wall.
There are a lot of reasons why guys can miss - it isn't always just black and white - but you just have to learn to move on from it. That's just the approach I take. I've missed plenty of kicks before.
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.
I can't imagine seeing Batman in black and white. It was such a colourful TV series. I know. I'm ancient. It wasn't abnormal to be without a television in those days. People who had colour were special.
I think it's because it was an emotional story, and emotions come through much stronger in black and white. Colour is distracting in a way, it pleases the eye but it doesn't necessarily reach the heart.
I feel like I get a variety of people in my crowd. Because of that, there's a nice amount of Hispanic people and Latinos that come to my shows. There's also a really big amount of Black and White people.
The major change was going from 'Black and White' to 'Fable,' because I was no longer programming, and I had spent most of my time designing through programming, and only working with people I knew well.
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.
Our personal past is only available to us now through black-and-white film, it's a medium for communication with the dead, including our dead selves, the way we used to be, which is why we're drawn to it.
I'm very proud of the Rome episode of 'No Reservations' because it violated all the conventional wisdom about making television. You're never, ever supposed to do a food or travel show in black and white.
Underground and alternative comics existed in a vacuum for years, where money really wasn't an issue. No one would get into doing a black-and-white comic because they thought it might be a route to riches.
My characters make incomprehensible decisions until you stand in their shoes. Then it makes more sense. Life is very rarely black and white, and most people are trying to do their best. I try not to judge.
People want black and white answers, but it's not one thing or another. I think the only way we're going to make good things is to inspire people and make them feel as though what they're watching is real.
When it comes to our precious poor children of all colors, maybe disproportionally in percentage black and white and red, but all colors, yellow as well as white, we need to push toward integrated schools.
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.
Black and white is so familiar. It's how we see the printed word in books, so it's kind of neutral in a way. Yet it's ironic that black and white is so charged socially, what with its association with race.
It's amazing when you find a photo of your grandparents when they were young because it's black and white and the care that they put into their appearance back then was so grown up and specific to that era.
I still remember how me and my husband spent 30 minutes trying to convince our then 10 and 12 year old son and daughter that they really would love this black and white movie called, 'It's a Wonderful Life'.
John Kerry doesn't think in terms of black-and-white. He's all gray, and he looks at all sides of the issues. That makes people think he likes to be devil's advocate. Whatever you say, he'll challenge you on.
I grew up watching 'The Lone Ranger.' I would get up every Saturday morning, earlier than all the other kids, to watch a black and white western with Clayton Moore that hadn't filmed a new episode since 1957.
Ned was clad in a white linen doublet with the direwolf of Stark on the breast; his black wool cloak was fastened at the collar by his silver hand of office. Black and white and grey, all the shades of truth.
If you remember back to some of the television we saw, Buzz and Neil on the Moon with Apollo 11. Black and white. They were bouncing around a lot. They were really bouncing on their tip toes. Quite fun to do.
Whatever it takes to get the image to reach that level is what that photographer needs to do. And for me, I just have such a love of the tactile and sensuous quality of a black and white silver gelatin print.
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.
Barbara and I wanted to do a television special, and she put it together with T Bone Burnett, and they came up with the idea of it being black and white. It was fabulous; we had a great time. It was wonderful.
At first I read mostly books by Southern authors - black and white - because almost all the people I knew were born and raised in the South, starting with my mother. I remember I got a lot of Erskine Caldwell.
At first, all is black and white. Black on white. That's where I'm walking, through pages. These pages. Sometimes it gets so that I have one foot in the pages and the words, and the other in what they speak of.
And then I went to visit my sister in the states and all of a sudden it was just like, it's like... it's like the movie Wizard of Oz when all of a sudden it changes from Black and White to glorious Technicolor.
You know, one of the things I like about this world, or at least I like about the way we're presenting this world, is these issues are terribly complicated - not nearly as black and white as we're led to believe.
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.
All painting worth its name, unless one is talking about black and white, must include the idea of color as one of its necessary supports, in the same way that it includes chiaroscuro, proportion, and perspective.
Now we have black and white elected officials working together. Today, we have gone beyond just passing laws. Now we have to create a sense that we are one community, one family. Really, we are the American family.
During the decades after Brown v. Board of Education there was terrific progress. Tens of thousands of public schools were integrated racially. During that time the gap between black and white achievement narrowed.
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 agree with Balzac and 19th-century writers, black and white, who say, 'I write for money.' Yes, I think everybody should be paid handsomely; I insist on it, and I pay people who work for me, or with me, handsomely.
But I think the possibility of a black and white society feeding each other's expertises, living harmoniously, will probably go along in fits and starts now but at least it has a great constitution now to back it up.
It will be difficult if people can't get past their prejudices; I don't mean Black and White; I mean people automatically assume because a film has a predominantly Black cast, that it is a particular quality of film.
It was a mystery to me. To that awful black-and-white farm, with that aunt who was dressed badly, with smelly farm animals around when she could live with winged monkeys and magic shoes and gay lions. I didn't get it.
I start from experience and read. . .always between polarities - loud and not-loud, young and old, spring and winter. If I can make black and white behave together instead of shooting at each other only, I feel proud.
It seems that our politicians see the world in black and white, so why not our artists? Did Woody Allen's 'Manhattan' have to be in black and white? No. But is it fantastic that it was? To see New York like that? Yes!