A Quote by Hirokazu Kore-eda
It's definitely good to have a hit from time to time, though not too often. If you have a few hits in a row, people start to think every film you make will be a hit, which is a big mistake.
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What is a hit? Who can tell? Who decides what a hit sounds like? I needed to remind myself that a hit is whatever people decide is a hit. I don't make hits; I make music. People make hits.
Most of the time, when I had hits as a soloist - maybe not so much with Simon & Garfunkel - I was surprised they were hits. I didn't know what the hits were. I never thought that 'Loves Me Like A Rock' was going to be a hit, or 'Mother And Child Reunion,' or '50 Ways To Leave Your Lover.' They didn't sound like what the hits sounded like at the time. Radio was more open to things that weren't exactly what every other hit was.
Often by the time writers and producers try to get a new hit song, the industry has already moved on. Whatever you're creating might not be as hot as it would have been during the time of your first hit. It definitely compromises the creative process when the music is changing and evolving so fast. If you're not on top of it, you will be forgotten.
The new Bond film, will be a big, big hit, because every Bond film is an event. Fathers take their sons to it; probably grandfathers. It's been a long time, and I think that the success of Bond is because the audiences have never been cheated by the producers. They always spend every penny, put it on the screen, and then the things that people expect to see in a Bond film - big action scenes, glamorous ladies - it's pure escapism.
Everyone starts out desperately trying to make a hit, but some people are just more mistake-prone than others. I happened to be fairly mistake-prone. Of the 40 shows I made, I'd say ten were hits, which is a pretty good average.
Any time you lose a few in a row, you have to hit reset and come back tomorrow and do the best you can to forget about how the past series went. It's frustrating. Individually it's frustrating. I'm trying to figure it out. And I know as a team, it sucks losing a few in a row any time. So you know, we'll snap out of it.
Artists don't always know. Almost every song I ever recorded that was a hit at the majors that the promotional people picked I didn't think it would be a hit. I was wrong every time!
The challenge is simple: Quitting when you hit the Dip is a bad idea. If the journey you started was worth doing, then quitting when you hit the Dip just wastes the time you’ve already invested. Quit in the Dip often enough and you’ll find yourself becoming a serial quitter, starting many things but accomplishing little. Simple: If you can’t make it through the Dip, don’t start. If you can embrace that simple rule, you’ll be a lot choosier about which journeys you start.
My father taught me, in boxing, that when you - particularly when you get hit in the face for the first time - you're going to panic. That instead of panicking, just accept it. Stay calm. And any time anybody hits you, they always leave themselves open to be hit.
In baseball, I don't fraternize with players when it's time to hit. I'm preparing for the game. It's the most important time of the day. And I know if I don't hit, I won't have a job in the big leagues. That's why I tend to get very upset when people try to talk to me.
Aim for the high mark and you will hit it. No, not the first time, not the second time and maybe not the third. But keep on aiming and keep on shooting for only practice will make you perfect. Finally you'll hit the bull's-eye of success.
There is always pressure. If you make a flop film then you are under pressure to make a hit film. If you make a hit film then you are under pressure to surpass your own standard or at least deliver another hit because the audience also has expectations.
If you hit a routine fly ball in the big leagues, you're out every time. If you hit a ground ball, you're probably out a lot of the time as well. But there's a happy medium in there, a way to swing where your misses can still lead to successes.
The most important thing, my father told me, which I have never forgotten, and which I have often put unto practice was: If you get into a quarrel with anybody, hit him first. "If you hit first, the battle is half-won," my father always said "Don't let him hit first. You hit him first." "What's more," he never forgot to say, too "Usually one blow is all you need." I found this to be true.
Yes, I hit with heavy top-spin, but when you look at the little rackets I played with, the Maxply Dunlop, you had to hit the very centre all the time. I had my share of miss-hits.
I have often noticed that the need for cash and the production of a masterpiece just don't coincide with me. Money will hit me at a big off-period and genius will hit me in starvation, that is, I often get the money when I don't think I deserve it and have been lolling around for days and days thinking the most abysmal thoughts.
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