A Quote by Karren Brady

For me, I may have titles like CEO, director or vice chairman but the best title for me is 'working mother.' — © Karren Brady
For me, I may have titles like CEO, director or vice chairman but the best title for me is 'working mother.'
All the times they put tag titles on me, Intercontinental titles on me, or the world title on me, the only time I couldn't defend the title was when I had to forfeit the belt when I quit WCW and retired from wrestling forever.
I have registered few titles like 'Bharat Bandh,' 'Calendar Girl,' 'Money Politics.' The titles just intrigued me, so I registered. I had a title, 'Jai Ho,' which I gave to Sohail Khan for his next film with Salman Khan. These are typical Madhur Bhandarkar kind of films. I may make a film or not on such titles... not sure yet.
I worked with the best - Givenchy, Dior, Yves Saint Laurent - and it gave me an ability to be confident. It turned me into a CEO and a creative director and a brand.
The thing is, in the WWE, we have the WWE title, the World title, the United States title, the Intercontinental title, the Divas title, the Tag Team titles. And I feel like, in this business, when Mr. Perfect had that Intercontinental title, that was the belt we saw as the stepping stone to becoming 'the man.' The franchise of the WWE.
I always have trouble with titles for my books. I usually have no title until the editor has to present the book and calls me frantically, 'Judy, we need a title.'
I always have trouble with titles for my books. I usually have no title until the editor has to present the book and calls me frantically, 'Judy, we need a title.
I like working with directors because I'm really opinionated about what things work and may not work, what audiences like and may not like, (not really) but I do have opinions about things. I like to be able to say them and then have them acted on. The director who responds to me like that, always gets my appreciation. I do appreciate it. What I find is the best directors, no matter what kind of name they have, are like that.
I think titles are tricky because they're like a really short ad for the book. And like an ad, they should open the door in a way that might be more accessible than the book itself. So I always like titles to be familiar. I'm not trying to break ground with the title itself. The title should feel like something already celebrated.
When I was made CEO of Reynolds the first time, someone asked me what it was like to be a female CEO. But I said, 'I don't know what its like to be a male CEO, so I can't really answer that question.'
Titles are very hard. Sometimes a title comes before I start to write the book, but often I finish the book and I still don't have a title. I have to go through the book again and then sometimes I hope a title jumps out at me from what I've written.
Personally, I think 'Dead Americans' is the best title I have, but you can't win with everyone. Titles have to be short, catchy, not too obscure, not offensive, and still capture the genre, and so on and so forth. Takeshi Kitano has it about right when he says he'd just like to title his films by number.
Those are the titles you play for, so I'd like to have a Grand Slam title in my life, and I'll do my best to do it.
I like to adapt to a director's way of working. I love doing that. Each director is so different, and you have to adapt to this new way of doing something. That's what's amazing to me. That's why I love directors. I don't want to director to have to work around me. I think it's more fun for me to come in on their thing.
I'm vice chairman of the American Wild Horse Protection Association and honorary chairman of the Wildlife Federation.
For me, it's not like I am going to look at the money the director's film has made before their film... For me, it is about working with the director whose work I have admired.
I really kill myself on titles, although 'The 5th Wave' seems like an obvious title, doesn't it? You don't know how long that took me.
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