A Quote by Colin Greenwood

In Kid A and Amnesiac, the guitar becomes one more texture, difficult to separate from other textures. — © Colin Greenwood
In Kid A and Amnesiac, the guitar becomes one more texture, difficult to separate from other textures.
In fact, quite a lot of what I do has to do with sound texture, and, you can't notate that. You can't notate the sound of "St. Elmo's Fire." There's no way of writing that down. That's because musical notation arose at a time when sound textures were limited. If you said violins and woodwind that defined the sound texture; if I say synthesizer and guitar it means nothing - you're talking about 28,000 variables.
The piano is an instrument that can easily sound overly thick, and I love to think that I can work with textures - particularly the inner textures inside the melody or the bass line. There is an analogy there with painting; I love paintings where you see colour underneath the colour and, underneath that, more texture and shape.
I actually prefer to hear small groups of instruments. Orchestras seem to lack a texture for me, or variety of texture. There's only about ten things you can do with one note in a string section. But a lone violin is continuously changing textures.
I probably spent more time as a kid playing air guitar to Jimmy Page than any other guitar player.
When you start loving, your character becomes like the positive side of a magnet and the one you love becomes negative, that pulls people close to you in union, and becomes very difficult to separate.
As a guitar player, I've been influenced by dance music - it was Crystal Method and The Prodigy back in the day. I would listen to those textures and try to approximate them on the electric guitar.
When we pay attention, whatever we are doing...is transformed and becomes a part of our spiritual path. We begin to notice details and textures that we never noticed before everyday life becomes clearer, sharper, and at the same time more spacious.
But actually making pictures to look like my pictures, I've done it for so long, I'm kind of used to it now. So at the beginning of the process, designing and storyboarding everything, I sort of did all that. And then designed the characters, and doing the textures for the characters, and the texture maps to cover all the animated characters and the sets, I did those, because that's where my sort of coloring and textures get imprinted on the film.
From what type of software could help us make a movie faster to everything else regarding the textures. Some might think, "It's probably very easy to make a film with those textures," but it's much more difficult than what it appears to be. We had to discover a faster process because otherwise it could have taken us 10 years to make it.
Since I first picked up the violin, I've been very interested in tone and texture: I would have very visceral reactions to the texture of a snare drum or a pedal steel guitar or a violin.
It requires a certain kind of mind to see beauty in a hamburger bun. Yet is it any more unusual to find grace in the texture and softly carved silhouette of a bun than to reflect lovingly on the hackles of a fishing fly? Or the arrangements and textures on a butterfly's wing? Not if you are a McDonalds's man.
I'm a very textural composer. I care a lot about textures and gestures. Electronics add so much to that. It's like a flavor - it creates so much texture.
...many have the idea that organizing people is very difficult, but it isn't. It becomes difficult only at the point where you begin to see other things that are easier. But if you are willing to give the time and make the sacrifice, it's not that difficult to organize.
Grief reconfigures time, its length, its texture, its function: one day means no more than the next, so why have they been picked out and given separate names?
I still don't feel I know Hitchcock at all. I find that the more one looks, the more elusive he becomes. But my admiration for Hitchcock the filmmaker remains undiminished. He is a giant of the cinema and the darkness in him informs his cinematic language. You can't separate one from the other.
We live in an age of miracles so commonplace that it can be difficult to see them as anything other than part of the daily texture of living
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