A Quote by Marc Randolph
When we were kicking around the idea for Netflix in 1997, proving out an idea was expensive and labor-intensive. There was no Squarespace, no cloud. If you wanted a website, you had to build it from scratch. If you wanted an online store, you had to completely design it yourself.
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My idea was to build Liverpool into a bastion of invincibility. Had Napoleon had that idea he would have conquered the bloody world. I wanted Liverpool to be untouchable. My idea was to build Liverpool up and up until eventually everyone would have to submit and give in.
I naively chose a college that was almost as expensive as Stanford, and all of my working-class parents savings were being spent on my college tuition. After six months I couldn't see the value in it. I had no idea what I wanted to do with my life and no idea how college was going to help me figure it out.
I am interested in all aspects of filmmaking, so I have an opinion on every aspect, so sound design, score, cinematography, editing - all that stuff I have experience doing myself, so I had a very strong idea of what I wanted, and I got, for the most part, people that were able to articulate that idea, which was nice.
I had always wanted to belong, and I had been thinking that this was going to get solved when I had money, and instead, I had no idea how I wanted to live my life. And no one teaches you what to do after you achieve financial independence. So I had to confront that.
We had no idea what we were in for when we started Blue Sky. We just had an idea of what we wanted to do. When we got to a point where it seemed impossible, we just kept doing it. After 18 years, we have a lot of it done.
i had no idea what i wanted to do with my life and no idea how college was going to help me figure it out.
So I had this completely unrealistic idea of what America was — but I wanted to be there.
I had always been the theater nerd at Northwestern University. I knew I wanted to do acting, but I hated the idea of being this cliche - a girl from L.A. who decides to be an actress. I wanted more than that, and I had always loved politics, so I ended up changing my major completely, and double-majoring in theater and international relations.
I got the idea for Netflix after my company was acquired. I had a big late fee for Apollo 13. It was six weeks late and I owed the video store $40. I had misplaced the cassette. It was all my fault.
I wanted to start something in New York that focused on making products locally, and because I'd just had my second child didn't want to be traveling halfway across the world anymore. The idea was to have something wearable that fit with my reality, which was being a mom with two young kids and not always wanting to wear jeans. I still wanted to wear interesting clothes, and the options out there I found were either very expensive or very cheap. There was a big gap in the middle.
Walt had a seat-of-the-pants approach on what he wanted musically. We kind of 'read' the boss and had a very high batting average, but there were occasions when he felt we had just written the wrong piece for the situation he wanted. We invariably listened to what he wanted - he was very descriptive in what he wanted and we could read him. We'd go back to the drawing board and work out what he wanted. He was a great inspiration, but a tough taskmaster.
I had no idea when I graduated from high school and then from graduate school what I wanted to do with my life. I had no idea that I was ever going to be an actor.
The first thing that got to me was seeing David Bowie on a children's TV show, but Bowie was way beyond my aspirations. The Buzzcocks' Spiral Scratch came out in 1977 and it had a breakdown of the recording costs, then you saw Pete Shelley playing a broken guitar from Woolworths. We already had an idea of the kind of music we wanted to do, but punk showed us a way to do it.
To be fair, when I started doing 'Verdict' I literally had no idea what I was doing. I wanted to do some theatre, as I wanted to do something different. I wanted to learn and get an understanding of the craft.
I never wanted to work in fashion. At age 12 or 13, I wanted to design for showgirls - for the theater! And I was crazy for the Hollywood of the 1950s: Dietrich, Elizabeth Taylor, Jennifer Jones. They were my idea of glamour - and Sylvie Vartan, the French singer.
I had no idea how I wanted to get into photography, but I just knew I wanted to do it.
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