A Quote by Felix Baumgartner
That spin became so violent, it was hard to know how to get out of it. I was able to get it under control and break the speed of sound...I could feel myself break the speed of sound. I could feel the air building up and then I hit it.
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My feeling is, if a dog is that hard up to break free, let it go. It's like a boyfriend who wants to break up. We all know the old adage "If you set someone free, and he never comes back, then he was never yours." I understand the main fear with setting dogs loose is they could get hit by a car, but so could an ex boyfriend. That's just a chance you have to take.
You hear stories about me beating my brains out practicing, but the truth is, I was enjoying myself. I couldn't wait to get up in the morning so I could hit balls. I'd be at the practice tee at the crack of dawn, hit balls for a few hours, then take a break and get right back to it. And I still thoroughly enjoy it. When I'm hitting the ball where I want, hard and crisply - when anyone is - it's a joy that very few people experience.
I do remember, though, when I discovered the third! I was about five years old - it was a very pleasing sound. I remembered that if I hit one note, then skipped one and played the next, I could get this really good sound.
Artists are creating their own genre sound, and other artists are building upon that sound and already creating a huge subculture created around one particular sound created by one artist. So, with all that happening, the genres are going to break down, and there's going to be a multitude of sound coming out.
I kept thinking, 'How do you make a modern musical?' Then it became clear that I could do it just like a small indie art-house movie, very naturalistically. I could create a world where it's o.k. to break into song, without an orchestra coming up out of nowhere.
I based my tuning on Gene Krupa, Buddy and Joe Morello. I knew how I wanted the drums to sound and we did the best we could with a beat up Ludwig kit. I spent a lot of time around drummers learning how to get sound. I knew the sound I was after and what would work for what we were playing.
I love a challenge, and trying to become the first person to break the speed of sound in freefall is a challenge like no other.
I'm not gonna sound like the next person. I could respect your sound, but I could also do my own - you feel me?
Running taught me to have faith in my skills as a writer. I learned how much I can demand of myself, when I need a break, and when the break starts to get too long. I known how hard I am allowed to push myself.
People who care about records are always giving me a hard time. I mean, I would destroy records in performances, and break them, and whatever I could do to them to create a sound that was something else than just the sound that was in the groove.
Working with other people, it's hard to get them to make it sound like what you have in mind. Also, it's really expensive to get your tracks produced, so I thought if I could learn how to do it myself, I could make five albums in a month and it would be free, it would be me, and it would be everything that I'm doing.
I clipped a Ferrari, hit the gravel trap at a fair old speed, which lifted the car up into the barrier, and then rolled a few times. I had no injuries or anything - I just had to wait for the marshals to right the car before I could get out.
And the general shot my sister. I could not look at her, but I remember the sound of when she hit the ground. I hear that sound when things hit the ground still. Anything.' If I could, I would make it so nothing ever hit the ground again.
Listen to th' wind wutherin' round the house," she said. "You could bare stand up on the moor if you was out on it tonight." Mary did not know what "wutherin'" meant until she listened, and then she understood. It must mean that hollow shuddering sort of roar which rushed round and round the house, as if the giant no one could see were buffeting it and beating at the walls and windows to try to break in. But one knew he could not get in, and somehow it made one feel very safe and warm inside a room with a red coal fire.
When you get an idea, so many things come in that one moment. You could write the sound of that idea, or the sound of the room it's in. You could write the clothes the character is wearing, what they're saying, how they move, what they look like. Instead of making up, you're actually catching an idea, for a story, characters, place, and mood - all the stuff that comes. When you put a sound to something and it's wrong, it's so obvious. When it's right, the whole is greater than the sum of the parts. That's a magical thing that can happen in cinema.
I thought that if I could speed up the production of animation, I could make a big business out of recreating the amazing images of the news because what we get on TV is always the last bit of image.
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