A Quote by Richard Branson

When I started Virgin from a basement flat in West London, I did not set out to build a business empire. I set out to create something I enjoyed that would pay the bills.
When I started Virgin from a basement in west London, there was no great plan or strategy. I didn't set out to build a business empire... For me, building a business is all about doing something to be proud of, bringing talented people together and creating something that's going to make a real difference to other people's lives.
When I started Virgin from a basement in west London, there was no great plan or strategy. I didn't set out to build a business empire ... For me, building a business is all about doing something to be proud of, bringing talented people together and creating something that's going to make a real difference to other people's lives.
I had started working in television but it did not pay that much. I was 27, renting this little one-bed flat in Shepherd's Bush, West London, with a bathroom so small only someone of my size could actually get in it.
I never set out really to build a financial empire or to be a wealthy man.
And ever since then [I] have set up businesses basically out of frustration. I mean, I set up Virgin Atlantic with one second-hand 747 because I hated the experience of flying on other people's airlines. And I thought, you know, I could try to create the kind of airline that I'd like to fly on. And people liked it.
I wanted to find raw talent and help build it from scratch. I wanted to build from rags to riches. That's the way Ear Drummers did it. We took over the music industry from my mom's basement. That's why my first album is going to be called 'Made It Out the Basement.'
The fact that my father set out on his own to build Hyatt - a business the family was not in and a business he was learning about as he was building it - is instructive.
I didn't set out to do something different so much as do something that interested me. I wasn't trying to be avant-garde - that's being fashionable. You don't set out to revolutionize art, you make statements for yourself.
One set at extreme intensity does the muscle-building job. It must be stressed that the one final, all-out set I do takes me to the very limit of my capabilities. If you feel you can attempt a second set, then you couldn’t have been pulling out all the stops during the first set. It's not pretty, but it works.
My dark secrets are life threatening. Pockets of unhappiness set in aspic that build and build. I have this primitive feeling that if something good happens, it is going to be followed by something bad. There is always a price to pay.
No matter what you set out to do and how you set out to do it, you ultimately have to be who you are, and who you are as that character. So, I paid as much homage as I could to what Michael Clarke did, and had to rely on my own gifts to guide me through it.
The comedies are not a million laughs on the set. Its business and the dramas are business as well, really. When I'm writing it I struggle more with drama because I started out in comedy.
Like everybody, I started out doing 'bringer' shows - the kind where if you show up with a certain number of people, you get to perform. Sometimes I would actually pay strangers off the street to come in and see my set.
No one sits in front of a drum set and thinks they invented it all out of whole cloth. The fact that the set is there means that you've got some dues to pay to Baby Dodds.
We definitely set out to make a great 'radio' record. We set out to write great hooky choruses-but with verses that said something.
When I was 21, I left college and set up business Swanky Modes with three friends in Camden, North London. We were four women who did not know much about business, so we learnt as we went along.
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