Zitat des Tages über Schwarz und weiß / Black-And-White:
I collect primarily ceramics but also black-and-white photography and some bits of contemporary.
Our culture thrives on black-and-white narratives, clearly defined emotions, easy endings, and so, this thrust into complexity exhausts.
Watching television in those days was not the same experience as it is today. After years of listening to radio, we found the black-and-white images mesmerizing.
My black-and-white work is more of a celebration, and the color work became more of a critique of society.
Everything is not black-and-white. I'm really interested in the gray area - not justifying it, not glorifying it, not condoning it, but at least having people see there's a genesis for every event in our lives. There's some divine order to it, whether it's ugly or beautiful.
I've struggled with gender norms my whole life, always feeling like I wasn't black-and-white; I was in this gray area, and gray areas really scare people because you can't define them.
I grew up feeling Israel is very important, and I'm very supportive of Israel. At the same time, I think you can be really supportive of Israel and not look at it as a black-and-white situation.
A lot of my friends were mostly working in black-and-white - people like Lee Friedlander, Diane Arbus, Garry Winogrand, and others. We would exchange prints with each other, and they were always very supportive of what I was doing.
100 years ago, movies were black-and-white, silent, and 16 frames a second. So 100 years from now, what are they going to be?
As a feminist, just to speak to what women go through, I think women are put in a box way too often. What I love about 'You're the Worst' is that no female character is portrayed as a black-and-white cartoon character. We're all complicated, messy human beings.
Color can do anything that black-and-white can.
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.
All actors bring something unexpected to the role because they have to translate what's on the page and make a real character out of the black-and-white text that's there in the script.
Remember those black-and-white films with Frank Sinatra? Those guys looked like men and they were only 27! Listen to Otis Redding singing 'Try A Little Tenderness'. That was a man who understood what a man has to know in the world. Show me a real man now! Where are they?
Our education system is increasingly embracing a black-and-white way of thinking, in which 'learning' and 'play' are diametrically opposed. 'Learning' is the serious stuff that happens inside a classroom and can be measured via multiple choice questions and a No. 2 pencil. 'Play' is frivolous, fun, and worst of all, optional.
I think a lot of the time there isn't such a black-and-white difference between what's a platform and what's an app. It's really just like the most important apps become platforms.
I'd like to be played as a child by Natalie Wood. I'd have some romantic scenes as Audrey Hepburn and have gritty black-and-white scenes as Patricia Neal.
The perceived wisdom is that people do not go in large numbers to black-and-white movies anymore - which is a great shame, but I'd love to make a black-and-white movie one day.
My mom loved the old black-and-white films.
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.
Period recreation is very difficult unless you make a black-and-white movie.
I think if you live in a black-and-white world, you're gonna suffer a lot. I used to be like that. But I don't believe that anymore.
Nothing is black-and-white, except for winning and losing, and maybe that's why people gravitate to that so much.
The over-all point is that new technology will not necessarily replace old technology, but it will date it. By definition. Eventually, it will replace it. But it's like people who had black-and-white TVs when color came out. They eventually decided whether or not the new technology was worth the investment.
I thought 'The Artist' was a perfect way to find a good balance. The artistic challenge is obvious because the film is black-and-white and its silent, but I did my best to make the movie accessible and easy to watch. I really don't want to make elitist movies. I really try hard to work for the audience. Audiences are smart. They get everything.
Every Sunday on Channel 6 in Guadalajara, where I lived, they dedicated most every Sunday to black-and-white horror films and sci-fi. So I watched them. I watched 'Tarantula.' I watched 'The Monolith Monsters.' I watched all the Universal library.
Reality television paints a simple black-and-white world of good characters and bad characters; people we want to root for and people we want to see ruined. There is none of the gray ambiguity that colors real life. I no longer watch a lot of reality television, but sometimes I can't look away from 'Honey Boo Boo.' I just can't.
The whole series is black-and-white, so when I went to shoot one of the women I only had black-and-white film with me. She had reddish hair and was a very pretty girl, a nice girl.
I myself saw the great works of Western civilization for the first time in my high school in Lithuania in bad black-and-white reproductions on miserable paper. That was, for many years, what art was for me. But from those miserable black-and-white reproductions, I got something, something unmistakable.
How could 30 years be the blink-of-the-eye it felt? It was the difference between black-and-white footage of the Second World War and David Bowie on 'Top of the Pops' singing 'Life on Mars.'
I've been fascinated by the Internet from the very start. In 2001, I had made a funny black-and-white film called 'How to Dance Properly,' a short video of me dancing to a Madonna song. I sent it to 17 of my friends on a Thursday, and by Monday, one million people a day were logging on to view it.
There is no black-and-white situation. It's all part of life. Highs, lows, middles.
It was 100 feet of 16 mm black-and-white film of a car coming to a stop sign, and driving off. I had to decide how to frame and light it. It was magic. There was a sense of mystery.
Harvey Weinstein bought our film, and he's an animal. He's got us out there campaigning and everything because honestly it's a silent black-and-white film.
'SNL' came out in the '70s. It's a different zeitgeist. It's hard to re-create it, just as it would be hard to do a black-and-white noir film now. The culture's different.
Black-and-white photography, which I was doing in the very early days, was essentially called art photography and usually consisted of landscapes by people like Ansel Adams and Edward Weston. But photographs by people like Adams didn't interest me.