A Quote by St. Lucia

I think that layers in music, whether it's layers juxtaposing emotions and feelings or layers of texture, make for a more interesting product. — © St. Lucia
I think that layers in music, whether it's layers juxtaposing emotions and feelings or layers of texture, make for a more interesting product.
Everything in Louisiana is about layers. There are layers of race, layers of class, layers of survival, layers of death, and layers of rebirth. To live with these layers is to be a true Louisianian. This state has a depth that is simultaneously beyond words and yet as natural as breathing. How can a place be both other-worldly and completely pedestrian is beyond me; however, Louisiana manages to do it. Louisiana is spooky that way.
As you get older, you have more and more layers of experience to forgive, more layers of heartbreak, more layers of what you might think of as failure.
I buried everything under layers and layers and layers of code, but the signifiers of my emotionality were there, for me.
I have to strip away all the layers when I'm writing the song. I have to cut through all these layers of years of putting up walls and putting protective layers around myself.
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.
It's good to unpeel layers of yourself, and we're unpeeling layers of the group. We are growing and evolving. It'll reflect in the music.
I collect paint like I collect sound. And then I use layers, layers, layers.
If art made you think, then this was Art. Staring at the ball, made of layers and layers of cloth, I wondered about the glass marble at its heart. What if you wanted to reach that marble? Make sure it was still whole? You'd have to remove the layers. You'd have to risk breaking the ball for a chance at freeing it. Fear, knowledge, certainty - you'd have to be willing to let them all go.
I still look at that water, and I look at Moana's hair, and I'm just like, "How is this even happening?" It's such an incredible mix of technical mastery and wizardry. It's really incredible. It's layers and layers and layers. It's not unlike building a musical. It's really pretty cool.
The older the layers, the more each of them is uniform over a great extent; the newer the layers, the more they are limited and subject to variation within small distances.
You have so many layers, that you can peel away a few, and everyone's so shocked or impressed that you're baring your soul, while to you it's nothing, because you know you've twenty more layers to go.
The music that I make is built on layers upon layers of musical ideas. I want to keep it fun and fresh to where listeners won't get everything from just one listen. They can go back to it months, weeks, or even years later and hear something that they didn't ever hear before. That's what it's all about.
I think humans are fascinating in general. We're so weird. We do so many quirky things, and we don't even know it. There's just so many layers upon layers of nuances in everything we do, and the most fun part as an actor is trying to get into all those nuances, whether they're conscious or unconscious.
Making a film is just layers and layers of work of edits and trial and error.
[Whenever] you get near the human race, there's layers and layers of nonsense.
If you are working, almost like with layers of the Grand Canyon, there's history within those layers.
This site uses cookies to ensure you get the best experience. More info...
Got it!