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For whatever reason, the films I gravitate towards do have these strange sort of tonal balances to them... I kind of realized on '50/ 50' why I liked these blending of tones, because I think it's kind of what life is like: funny one minute, sad the next, scary the next.

In Tim's films, more than most, if you miss the tone, you don't get the film.

Tone is everything in TV.

Perhaps I am old-fashioned, but black and white films still hold an affectionate place in my heart; they have an incomparable mystique and mood.

I would never suggest that the geography or visual environment of the film is more important than what's going on with the people, but it's a major factor in getting the right tone. Certainly, it influences the actors tremendously.

I think most of my films all have a certain tone or intensity in them. They are tense, and you kind of anticipate some kind of catastrophe, but you're not quite sure.

Tone is up for grabs in what we do - what's the tone of the scene.

Entertainment came out of this thing called a television, and it was gray. Most of the films that we saw at the cinema were black and white. It was a gray world. And music somehow was in color.

Yeah I think Pitch Black was edgy, I think that's what worked for our film.

It doesn't matter if it's black-and-white. If a movie has a story that is filled with emotion, you can have as much pleasure, and it's very good for cinema.