I was looking at this picture of Brooke Shields at Studio 54 the other day. Everyone in the shot looks amazing because they have these black and white cameras with a flash. I think that's what photographers should go back to.
I have a massive phobia for schedules and calendars. I need people to tell me where I need to be. I can't bear to see it in black and white. I think it's a fear of being pinned down.
Celluloid will be the next decade's black and white.
How do we refresh our language? Why do we still use, like, a 150-year-old classification system to talk about people? It's so weird! We still call people black and white?
With my coloring, I'm nothing in black and white. I've seen my films sometimes on black-and-white TV. Disaster.
All of the films that I've made are about the country I live in and grew up in... And I think if you're going to put an artist's eye to it, you're going to put a critical eye to it. I've always been interested in the gray area that exists between the black and white, or the red and blue, and that's where complexity lies.
We believe it is comprehensive international sanctions against the white regime that will save us from the slaughter of hundreds of thousands of South Africans, black and white.
Washington is a great international city and in the congregation we have people who are rich and poor, black and white, and from every part of the world.
I personally pledge myself to openly counsel, aid, and abet youth, both black and white, to quarantine any Jim Crow conscription system.
We must always embrace individual liberty and enforce the constitutional rights of all Americans-rich and poor, immigrant and native, black and white.
Which is probably the reason why I work exclusively in black and white... to highlight that contrast.
You can't shoot in sepia, so converting into black and white and then into brown makes everything feel less real.
I've never had much interest in spinoffery - the idea of writing in someone else's universe generally leaves me cold - but 'Doctor Who' is different. I've grown up with it. It's been part of my life since I was tiny, watching Jon Pertwee on a grainy black and white television in Cornwall and being terrified out of my mind.
What I think is a really special movie is 'Black and White' with Kevin Costner and Octavia Spencer, which Mike Binder directed. I got to see a screening of it, and I think Kevin and Octavia and Anthony Mackie and Bill Burr all give such beautiful performances in that movie.
I have just one black and white photograph left of my mother when she was younger. She was 17 when it was taken and beautiful with wispy curls and eyes that shone like dark marbles.
Schoolkids - black and white - would call me Kunta Kinte as a cuss. If ever my hair was particularly messy, if ever I looked scruffy at school, I would be called Kunta Kinte. My first impression was that it was bad to be African and bad to be associated with him.
If I'm doing a logo, I'll do it in black and white. Once the form is feeling right, only then do I start exploring the color palettes. A good example was the process of rebranding the Salvador Dali Museum. I did at least 100 versions in black and white.
The middle of 'America's Women' is about the Civil War, and how women, black and white, confronted slavery and abolition. As in every other period of crisis, the rules of sexual decorum were suspended due to emergency.
Just as black and white, when mixed, make grey, in many ways that's what it did to my self-identity: it created a murky area of who I was, a haze around how people connected with me. I was grey. And who wants to be this indifferent colour, devoid of depth and stuck in the middle? I certainly didn't.
To describe something as being black and white means it is clearly defined. Yet when your ethnicity is black and white, the dichotomy is not that clear. In fact, it creates a grey area.
