Texture Quotes

Everyone makes pesto in a food processor. But the texture is better with a mortar and pestle, and it's just as fast.

In Kid A and Amnesiac, the guitar becomes one more texture, difficult to separate from other textures.

The riot isn't seen in the movie, but it is alluded to. He has this one speech that gives a great sense of texture and paints a picture of what was happening in Harlem then.

Within two hours of where I live, you have mountains and desert as location. I like the natural elements that abstract into light, texture, shape and shadow.

There is something magical in seeing what you can do, what texture and tone and colour you can produce merely with a pen point and a bottle of ink.

The friends whom I have are invaluable, and although not numerous they are sufficient for my enjoyment; and the texture of my own mind renders me very indifferent to the rest of the world.

The web, then, or the pattern, a web at once sensuous and logical, an elegant and pregnant texture: that is style, that is the foundation of the art of literature.

The omnipresent process of sex, as it is woven into the whole texture of our man's or woman's body, is the pattern of all the process of our life.

One might enumerate the items of high civilization, as it exists in other countries, which are absent from the texture of American life, until it should become a wonder to know what was left.

Memory is quite central for me. Part of it is that I like the actual texture of writing through memory.

What I enjoy most about being on stage is that the natural instruments give you a greater freedom with texture. When you use natural instruments they have their own resonance.

Any good broadcast, not just an Olympic broadcast, should have texture to it. It should have information, should have some history, should have something that's offbeat, quirky, humorous, and where called for it, should have journalism, and judiciously it should also have commentary. That's my ideal.

It's the texture of New York that people miss by filming elsewhere. There are layers and layers of character - even in the pavement - that you can't get anywhere else. And the speed that the people move. It's so different from other places.

I search for the realness, the real feeling of a subject, all the texture around it... I always want to see the third dimension of something... I want to come alive with the object.

There's an ecstasy about doing something really good on film: the composition of a shot, the drama within the shot, the texture... It's palpable.

Novels are like paintings, specifically watercolors. Every stroke you put down you have to go with. Of course you can rewrite, but the original strokes are still there in the texture of the thing.

Lighting is vital. Without that they've got nothing. And, of course, color and texture. When they showed me a little piece of Finding Nemo, I said this has got to be the biggest hit.

I don't want to say I hear voices; well, actually I do hear voices, but I don't think it's supernatural. I think it's just that when characters are given enough texture and backbone, then lo and behold, they stand on their own.

There's a certain way you stand to give yourself authority, which gives you the texture for the part. I chose that my character hadn't been married, he'd worked his way up the chain of command. For a small cameo role, I gave it a lot of thought.

Laws are generally found to be nets of such a texture, as the little creep through, the great break through, and the middle-sized are alone entangled in it.

The past becomes a texture, an ambience to our present.

Nudes are the greatest to paint. Everything you can find in a landscape or a still life or anything else is there: darkness and light, character dimension, texture. I painted heads too, of course.

Cigarettes are an instant signifier in culture. It punctuates a joke, or puts that extra zing on a punch line. I like them as a prop. I think it can be really useful for character and texture and contrast and all of that.

Little moments can have a feeling and a texture that is very real.

What interested me was not news, but appraisal. What I sought was to grasp the flavor of a man, his texture, his impact, what he stood for, what he believed in, what made him what he was and what color he gave to the fabric of his time.