A Quote by Patricia Riggen

Directors only have instinct to work out of, because there is no formula. Formulas don't work. Actually, if you follow a formula, you will probably end up with a bad movie.
The only thing I have learnt over the years is that if you enjoy your work and put in the best efforts, it will show. If you follow this process, things work out. But if you go chasing a formula, success will elude you.
We love Formula One and think Formula One's great. But we think Formula E is different. We would be making a big mistake if we tried to compete with Formula One and be similar to Formula One, we have to be radically different to Formula One to have a chance of survival. I don't mean survival by beating Formula One but co-existing complimentary to Formula One.
I know that a lot of people like to say "formula." I think that as soon as you start to have a formula imputed to your work, you're in danger of becoming formulaic. So the one formula I have as a rule is falling in love with the material.
We are comfortable with formulas, but the best happens when the formula doesn't work.
In psychology, there's something called the broken-leg problem. A statistical formula may be highly successful in predicting whether or not a person will go to a movie in the next week. But someone who knows that this person is laid up with a broken leg will beat the formula. No formula can take into account the infinite range of such exceptional events.
The question is not whether the formula for success will work, but rather whether the person will work the formula.
What you don't want is to repeat a formula over and over or impose a formula to a movie that...when you impose yourself and you impose a formula and you're not open to explore and to find what is right for the movie, I think you're doing a disservice to the story and what you're trying to express.
I completely work on the basis of my intuition. I don't think I premeditate a success formula. There is no formula to make a successful film.
Both Indy Car and Formula 1 work in the same way, although there is a greater emphasis on development and technology in Formula 1.
The formula is the star. I couldn't work inside that formula.
Culturally, I think we have operated as if we had the formula figured out, and it was all about optimizing, in its various constituent parts, the formula. Now it is about discovering the new formula.
There can be no formula in arts. Formulas are for factory mass productions. There are no discoveries in already discovered formulas.
From GP3 to Formula 2, it's obviously a step, but it's only a step on driving I would say. Here from Formula 2 to Formula 1, it's a huge step on driving because we have nearly 400 BHP more, with a lot more downforce. So it's a completely different car.
I think a lot of brands reach a point where they say, 'We kind of have a formula - we've got it made.' Our formula is there's no formula.
There is no formula. There are only confirmations to formulas which one has already discovered oneself.
Look, if somebody said tomorrow, "We're making a Lethal Weapon formula movie, but it's incredibly well-written and for two women," I'm not going to say, "Oh, forget it, it's formula." I got an idea the other day, that somebody should write a typical formula movie, a Lethal Weapon, and make it with me and my dad. It could be all father-and-daughter capers. But I'd want someone really weird to direct it.
This site uses cookies to ensure you get the best experience. More info...
Got it!