A Quote by Dick Clark

The faultless formulas of television-the ones that last-are simple. — © Dick Clark
The faultless formulas of television-the ones that last-are simple.
There can be no formula in arts. Formulas are for factory mass productions. There are no discoveries in already discovered formulas.
As elite attitudes towards public education over time illustrate, simple formulas are far from adequate. There are conflicting tendencies.
My vision was to create makeup that was more transparent but with formulas that last. I follow my instincts - it's all very spontaneous!
The television industry doesn't like to see the compexity of the world. It prefers simple reporting, with simple ideas: this is white, that's black; this is good, that's bad.
I must try, however, as best I can, although I am very conscious of the fact that our feelings and strivings are often contradictory and obscure and that they cannot be expressed in easy and simple formulas.
Dyslexia lends itself to original thinking, not rote formulas, because you can't do the formulas - you think up your own method based on intuition and instincts. Creativity is trial and error, trying to figure out a way to do something emotionally and intuitively.
I've done a lot of television over the last years, and you know, with some television productions, if you can do with just one take, you can move on and do something else.
Mathematics, in the common lay view, is a static discipline based on formulas...But outside the public view, mathematics continues to grow at a rapid rate...the guid to this growth is not calculation and formulas, but an open ended search for pattern.
Television is the original social network. Consumers love great television, but they also love talking about television. Sharing with friends the thrill of the last episode, debating what will happen next, working to enlist friends to watch the same shows that you love.
Over the last half century the television interview has given us some of TV's most heart-stopping and memorable moments. On the surface it is a simple format - two people sitting across from one another having a conversation. But underneath it is often a power struggle - a battle for the psychological advantage.
Many self-help books give you these neat, tidy formulas that are really illusions. They dupe people into thinking, 'Well if I can just do that, then everything's going to be okay.' My work differs in that I don't offer quick solutions and simple explanations.
I distrust all dead and mechanical formulas for expressing anything connected with human affairs and human personalities. Putting human affairs in exact formulas shows in itself a lack of the sense of humor and therefore a lack of wisdom.
I guess for major film industry players a film is a money making devise, so using formulas assures them that their investment will have returns. A lot of big studio films are created by formulas and committees, stripping away any individuality or personality from the work so that they could appeal to most everyone on there planet but to no one in particular.
I started in theatre, moved into film and television, and started doing voice work, which is funny because after a long time in film and television, you forget how much you rely on just a simple look on your face.
Television excites me because it seems to be the last stamping ground of poetry, the last place where I hear women's hair rhapsodically described, women's faces acclaimed in odelike language.
He is lifeless that is faultless.
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