A Quote by Chris Daughtry
I think if I try to develop a formula, it ends up not working.
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We love Formula One and think Formula One's great. But we think Formula E is different. We would be making a big mistake if we tried to compete with Formula One and be similar to Formula One, we have to be radically different to Formula One to have a chance of survival. I don't mean survival by beating Formula One but co-existing complimentary to Formula One.
I think I've done a fair bit of my talking on the track over the course of the years, leading up to Formula One and Formula One.
I think a lot of brands reach a point where they say, 'We kind of have a formula - we've got it made.' Our formula is there's no formula.
I think that's a very good point they're bringing into Formula One at the moment, to get rid of all the electronics. And I think that's what a Formula One driver needs. That's why they are a Formula One driver. They need to drive themselves.
From a prestige standpoint, the U.S. needs to host Formula 1. And I think Formula 1, they know they need the U.S. as well. So many companies that are global are based in the United States support Formula 1.
The formula is simple - do more of what is working, do less of what isn't, and try on new behaviors to see if they produce better results.
I know that a lot of people like to say "formula." I think that as soon as you start to have a formula imputed to your work, you're in danger of becoming formulaic. So the one formula I have as a rule is falling in love with the material.
I have a lot of great racing memories growing up in Europe as a young boy - playing with car parts on my dad's desk, watching the races on Sunday afternoons to try and spot him on TV, even having the chance to go to Formula 1 races where he was working.
Culturally, I think we have operated as if we had the formula figured out, and it was all about optimizing, in its various constituent parts, the formula. Now it is about discovering the new formula.
I think when you play with someone, you tend to pick up their game and try to develop something together.
To develop working ideas efficiently, I try to fail as fast as I can.
I think taking the biggest star in India and the biggest star in America, and putting them together in a movie that starts in America and ends up in India, or starts in India and goes to America. I think it would be a buddy cop formula.
You know that the formula is askew when even if the formula is working, it's not; when even if everything's going right, something is wrong.
I recommend people develop a fear of elevators, like I have. Even if something is on the tenth floor, I'm walking up. If you don't have claustrophobia, pretend you do and take the stairs everywhere! It ends up being so healthy!
You haven't time to think about the composition. In working directly from nature, the painter ends up by simply aiming at an effect, and not composing the picture at all; and he soon becomes monotonous.
Somebody approached me about working with Michael Jackson, and I did say no because I like working with new artists or people that I've worked with in the past. I can develop them from the ground up. There's no set standard that I have to live up to or anything like that.
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