Terms Of Service
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Terms Of Service
Martin Luther King, Jr.
Ralph Waldo Emerson
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Look at any black-and-white movie; everybody is smoking.
Color can do anything that black-and-white can.
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.
I remember lying on the floor of my room, staring at a black-and-white television for most of the '80s - watching 'Diff'rent Strokes,' 'Facts of Life,' 'Silver Spoons,' Saturday morning cartoons, and 'Murder, She Wrote' while eating an insane amount of Stouffer's French bread pizza. I was sucked into it all.
There's something really appealing about the simplicity of black-and-white images.
I think the truth is black-and-white.
I'm a black-and-white type of dude. If you say something, I believe you're gonna do it.
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.
When I take a black-and-white portrait, it's not particularly meant to please you. It's meant to talk to you; it's meant to shame you. It's meant to scream out at you, and it has a message.
Outside of white button-down oord cloth shirts, Trickers brogues, 501s, and Ray-Ban Aviators, the single item of clothing that I have had in my closet consistently since 1982 is a pair of black-and-white checked Vans. They are the lazy man's shoe - perfect for dog walking and security lines at the airport.
I am just pitifully nostalgic. I can't help but roll my eyes at myself frequently. I mean, I still shoot black-and-white film. And I am constantly reminiscing about the 'good old days.' I'm 28 years old. There haven't even been that many 'good old days.' But still, I love to look back.
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.
Parodies of commercials are by no means new and have been popular going back to black-and-white TV shows of the '50s.
Black-and-white always looks modern, whatever that word means.
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.
My black-and-white work is more of a celebration, and the color work became more of a critique of society.
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.
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.
I remember being on a black-and-white set all day and then going out into daylight and being amazed by the colour.
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.
I used to rely on black-and-white, and while I was working on 'Smile,' I learned to adapt to color on my end.
A film like 'Good Night And Good Luck,' you make that for $7 million because you know it's a black-and-white film, and it's not an easy sell. If you make it for $7 million, then everybody can have a chance to make a little bit of money, and you get to make the film you want to make.
Our wishes are our most reliable mirror, and the black-and-white movies I'm most drawn to are about artists who suffer because art is a noble thing; suffering is such a small price to pay for the imagination.
I'm from New Orleans, Louisiana. It's not a black-and-white type of thing down there. It's a very cultural place. Everybody has the same accent. It's not like if you're white we can't hang with you or anything like that. So it's easy for us to call each other out on our things.
Everywhere, people are beginning to question masculine notions of control, aggression and black-and-white thinking - and instead are favoring more empathetic, nurturing and collaborative approaches.
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