“Today, Psycho still holds up extraordinarily well (another reason why a remake seems pointless). With the exception of Halloween, no latter-day horror/thriller has been capable of generating as many goosebumps. The black-and-white photography is perfect for the film's tone and mood — the starkness of color would have blurred the nightmarish quality. The painstaking care with which [director Alfred] Hitchcock composed every scene is evident in the quality of the final product.”

—  James Berardinelli

Review http://www.reelviews.net/php_review_template.php?identifier=669 of Psycho (1960).
Three-and-a-half star reviews

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James Berardinelli photo
James Berardinelli 64
American film critic 1967

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“Is it not conceivable, that each tone is the fusion of a sum of still more primitive elements with the Gestalt qualities bound up therewith?… No conclusive argument can be brought forward even against the possibility that we may not, penetrating ever more deeply in this manner, finally arrive at a single proto-quality, or at least at a single quality-continuum, from out of which distinct contents (colours, tones, Y) are generated by the fusion of distinct combinations with the Gestalt qualities bound up therewith, [so that] one can no longer shrink from the idea that tones and colours might be exhibited as the products of a much higher degree of complication of proto-elements as yet unknown.”

Christian von Ehrenfels (1859–1932) Austrian philosopher

Source: "On Gestalt Qualities," 1890, p. 16

Maxfield Parrish photo

“It is generally admitted that the most beautiful qualities of a color are in its transparent state, applied over a white ground with the light shining through the color.”

Maxfield Parrish (1870–1966) American painter and illustrator

Letter to F.W Weber (1950); as quoted in Maxfield Parrish by Coy Ludwig (1997)
Context: It is generally admitted that the most beautiful qualities of a color are in its transparent state, applied over a white ground with the light shining through the color. A modern Kodachrome is a delight when held up to the light with color luminous like stained glass. So many ask what is meant by transparent color, as though it were some special make. Most all color an artist uses is transparent: only a few are opaque, such as vermillion, cerulean blue, emerald green, the ochres and most yellows, etc. Colors are applied just as they come from the tube, the original purity and quality is never lost: a purple is pure rose madder glowing through a glaze of pure blue over glaze, or vice versa, the quality of each is never vitiated by mixing them together. Mix a rose madder with white, let us say, and you get a pink, quite different from the original madder, and the result is a surface color instead of a transparent one, a color you look on instead of into. One does not paint long out of doors before it becomes apparent that a green tree has a lot of red in it. You may not see the red because your eye is blinded by the strong green, but it is there never the less. So if you mix a red with the green you get a sort of mud, each color killing the other. But by the other method. when the green is dry and a rose madder glazed over it you are apt to get what is wanted, and have a richness and glow of one color shining through the other, not to be had by mixing. Imagine a Rembrandt if his magic browns were mixed together instead of glazed. The result would be a kind of chocolate. Then too, by this method of keeping colors by themselves some can be used which are taboo in mixtures.

Sri Chinmoy photo

“A human being has many divine qualities. But there has never been another unparalleled divine quality like man's self-sacrifice, nor can there ever be.”

Sri Chinmoy (1931–2007) Indian writer and guru

Songs of the Soul (1971)

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“Color is the overpowering of black; white – the final victory over black.”

Dejan Stojanovic book The Creator

“Color,” p. 64
The Creator (2000), Sequence: “A Smiling Sky”

Jerry Goldsmith photo

“Working to timings and synchronising your musical thoughts with the film can be stimulating rather than restrictive. Scoring is a limitation but like any limitation is can be made to work for you. Verdi, except for a handful of pieces, worked best when he was 'turned on' by a libretto. The most difficult problem in music is form, and in a film you already have this problem solved for you. You are presented with a basic structure, a blueprint, and provided the film has been well put together, well edited, it often suggests its own rhythms and tempo. The quality of the music is strictly up to the composer. Many people seem to assume that because film music serves the visual it must be something of secondary value. Well, the function of any art is to serve a purpose in society. For many years, music and painting served religion. The thing to bear in mind is that film is the youngest of the arts, and that scoring is the youngest of the music arts. We have a great deal of development ahead of us.”

Jerry Goldsmith (1929–2004) film composer

ibid., p. 209

Johan Cruyff photo

“Quality without results is pointless. Results without quality is boring.”

Johan Cruyff (1947–2016) Dutch association football player

reported in Leo Messi's Twitter page https://twitter.com/messi10stats/status/713002758203310080 (24 March 2016).

“It's not hard to understand why an accomplished director like Gus Van Sant (whose most recent success, Good Will Hunting, gave him mainstream clout) would be interested in making this film. The lure of an exact remake presents a tremendous challenge. Unfortunately, it was undoubtedly a lot more stimulating for Van Sant and his crew to make Psycho than it is for an audience to watch it. [C]uriosity is going to be one of the primary reasons why people pay money to see this movie; boredom will be the predominant result.”

James Berardinelli (1967) American film critic

Review http://www.reelviews.net/php_review_template.php?identifier=1423 of Psycho (1998).
One-and-a-half star reviews

Gerald Ford photo

“It's the quality of the ordinary, the straight, the square, that accounts for the great stability and success of our nation. It's a quality to be proud of. But it's a quality that many people seem to have neglected.”

Gerald Ford (1913–2006) American politician, 38th President of the United States (in office from 1974 to 1977)

As quoted by TIME magazine (28 January 1974)
1970s

Sister Souljah photo

“Mills: Even the people themselves who were perpetrating that violence, did they think that was wise? Was that a wise reasoned action?
Souljah: Yeah, it was wise. I mean, if black people kill black people every day, why not have a week and kill white people?… White people, this government and that mayor were well aware of the fact that black people were dying every day in Los Angeles under gang violence. So if you're a gang member and you would normally be killing somebody, why not kill a white person? Do you think that somebody thinks that white people are better, are above and beyond dying, when they would kill their own kind?”

Sister Souljah (1964) American hip hop-generation author, activist, recording artist, and film producer

Regarding black-on-white violence in the Los Angeles riots, quoted in David Mills (16 June 1992) "In Her Own Disputed Words; Transcript of Interview That Spawned Souljah's Story" The Washington Post

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“It's actually a tribute to the quality of economics teaching that they have persuaded so many generations of students to believe in so much that seems so counter to what the world is like. Many of the things that I'm going to describe make so much more common sense than these notions that seem counter to what ones eyes see every day.”

Joseph E. Stiglitz (1943) American economist and professor, born 1943.

"Nobel Prize Lecture" http://nobelprize.org/mediaplayer/index.php?id=507 Information and the Change in the Paradigm in Economics, at Aula Magna, Stockholm University, (2001-12-08).

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