Which is probably the reason why I work exclusively in black and white. . . to highlight that contrast.
I like contrasting between black and white and color.
It was a black and white film [at first]. And then it changed to colour film, and I was surprised and culture shocked when I was six or seven years old. And then HD, then 3D now. So what's going? What's coming next? It's so exciting.
I really see food as subjective. It's a creative outlet. It's something that you do for fun. It's a gray area. It's not black and white or right and wrong.
Today, we've got what seems to me to be binary-choice politics: black and white, ones and zeros, either you are with me or against me. How did we get here?
Going on stage and transcending the audience and becoming this otherworldly thing makes you a dancer. It's not so black and white.
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.
Teach people to play new chess, right away. Why do you offer them a black and white television set, when there is a set in color?
No characters in 'Stay Close,' including the leads, are black and white. I want them to be grey. I think that makes for a much more interesting reading experience, something that will stay with you a little bit longer.
The piano by its black and white keys always attracted me, my father showed me how to use. . . and slowly I got into playing.
One can steal ideas, but no one can steal execution or passion.
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 make black and white prints because I want to go back to the beginning.
My philosophy, like color television, is all there in black and white.
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.
There's something strange and powerful about black-and-white imagery.
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 did a dance sequence in my second short film, which was my best short film, called 'Hairway to the Stars,' and I think Chris Wink, the founder of Blue Man Group, was in that. It's a black-and-white dance sequence. We were Glorious Food waiters together.
Let's just shoot in black and white. Don't explain why. Have no reason for it. Just do it because it's interesting.
Cold as winter, strong as stone; She faced the darkness all alone. A silver goddess; a reflection. A mirage; a recollection. No return; no turning back. The past is gone, the future, black. Serpents gather in their nest, And she stands above the rest. Shadows hunt; she hunts the shadow. The moon is risen; she stands below. She views her world through the eyes of others. Black and white; there are no colors, As she looks down upon a shattered youth. A shattered mirror shows a shattered truth.