A Quote by Jeremy Clarkson
In the olden days I always got the impression that TVR built a car, put it on sale, and then found out how it handled. Usually when one of their customers wrote to the factory complaining about how dead he was.
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Too many people go through life complaining about their problems. I've always believed that if you took one tenth the enrgy you put into complaining and applied it to solving the problem, you'd be surprised by how well things can work out.
I feel the car, but I think with me and my background of dirt racing and stuff and not having pit stops, you just kind of 'All right, this is how my car is handling, I've got to figure out how to drive it' and then you get a feel of how you want it to feel.
I'm not on Facebook. I'm not on Twitter. I know a lot of celebrities who go around complaining how little privacy they have. And then my question to that is always, 'Well, how much of yourself are you putting out there?'
They [ Factory Records] are always looking for the next group, the next big thing, to bring the record sales in and for them to promote and everything, but Factory just sign who they want to, put records by who they want to out, package it how they want to, how they like doing it. It's just run like that.
I'd found that what I wrote and put out on records somehow was not fitting into how I perform on stage.
A couple years ago, I felt like I was in a dead end, and I kept asking myself, "How do you get out of a dead end?" People would say the answer is, "You just turn around." But that was not the answer that I was going to accept. I realized, for me, that getting out of a dead end was literally the world turning upside down, and I had to fall out of the dead end. So you have to surrender, so I've really learned how to surrender, practice unconditional love. With my art, I've always put out things I love.
The first impression that I liked doing was an impression of Cheri Oteri's Barbara Walters impression on 'SNL.' I found that I could mimic that pretty well, and people got a kick out of that.
When we arrive at the studio, we put the kettle on, have a cup of tea, say, 'How's the family? You still got that old car? Is that dog still alive?' and then we start jamming. That's how the songs get written.
When I used to be a contract player in 1954 at Universal, I wasn't getting good roles. I was getting one-liners, and then I'd be gone. But I'd hang around; I'd watch guys. And when I had days off, which was most days, I'd go down and watch other sets while they were shooting. Watch Joan Crawford or whomever. Just watch how they worked and how the director handled them. I didn't know anything about making movies, and there's a lot to learn.
If I had done what I was programmed to do, I would now be sitting in a car factory looking at the sizes of wheels, or wondering how to get credit to start a new factory in Russia.
You always see black people complaining about this and that, but you never see me complaining about how slow they work on my plantation.
There are people who put their dreams in a little box and say, 'Yes, I've got dreams, of course I've got dreams.' Then they put the box away and bring it out once in awhile to look in it, and yep, they're still there. These are great dreams, but they never even get out of the box. It takes an uncommon amount of guts to put your dreams on the line, to hold them up and say, 'How good or how bad am I?' That's where courage comes in.
I have a scenario but almost always it's entwined with at least one person to begin with. Then I sort of expand from there and I'm thinking about books novels. I've got these scrolls of paper that I hang up in my office and this is my idea room, my nightmare factory, and I have a big title at the top of the scroll and on the left hand side I have these character sketches on the characters, and then once I figure out who they are I can figure out what they want and once I figure out what they want I'm able to put obstacles in the way of that desire, and that's where plot springs from.
I found a new me. When I first came over to America, it was like, 'How can I be rich? How can I build my movie career? How can I become the most muscular man?' It was all about me, and then there was this turn, and I found it was really great to do this.
I wrote a play before that and it never saw the light of day. And then I started working on this play and it came out really quickly. Eventually I got it, and I wrote a letter to Sarah Jessica Parker and she wanted to do it. So that's how it happened.
Every major car company is trying to figure out, 'How do I deploy the Internet into the car? How do I get cars to talk to each other? How do I get more safety? How do I get the ownership experience to change dramatically as a result?'
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