At what point was shooting in black and white out of art, not money?

Okay thanks I will check it out. Mine is more like The Silence of the Lambs or Seven, in terms of story and tone so not sure if that falls under the horror or thriller genre, and not sure if B $ W is the best for that type of story.

I always thought the term 'art' was just another word for scam.

So to answer your question, I'd say it was always out of money (if B&W was done after color was made available). Meaning, they're making you believe you're watching something greater than it is by giving you the impression that black and white makes it art, and you can't judge it like a normal movie, you have to try and connect with it or you're just not experienced, man.

Drugs probably help lower your standards, which is what Jimi mean't by "are you experienced?" Are you burnt out enough to buy into this bull**** art idea? I mean, it doesn't need action, it has a french guy on a bike and is void of color, right? Make something up in your mind and we'll go with that. And don't give me that, "it's how it makes you feel." Well, guess what, our moods and perspectives are going to fluctuate a lot over the course of the shelf life of that criterion bluray we just spent 60 bucks on.

Unless the director explains why they chose to mute the visuals (and it makes sense).

Well what about a movie like Citizen Kane, or Casablanca? Were they shot on black and white cause of art, or did they have the budget to shoot in color if they wanted to, but chose not to, for the look?

The answer could only come from the mouth of the directors and or producers of those two films. Maybe sometime in the past Orson Welles and Michael Curtiz said why those films were shot in black and white, if so the answer might be found with an internet search.

In the early 1940s when those two films were made, the process for color was three strip technicolor which was a patented process owned by the Technicolor company. As a result, studios shooting in color back then had to lease the camera equipment from Technicolor and were under obligation to shoot the color film under guidance from a Technicolor supervisor who at times would be on the set. The supervisor would dictate to the film maker what colors should be used and in what intensity. I can't image someone like Welles liking his creative hands tied by a Technicolor supervisor. Plus shooting in color back in the 1940s was very expensive and mainly used on musicals and costume movies and not often used on dramas.

As an art school graduate... I kind of really LIKE this line!!!