A Quote by Timbaland

My style is to take something unexpected and make it into a hit. That's what I do. — © Timbaland
My style is to take something unexpected and make it into a hit. That's what I do.
[In the case of research director, Willis R. Whitney, whose style was to give talented investigators as much freedom as possible, you may define "serendipity" as] the art of profiting from unexpected occurrences. When you do things in that way you get unexpected results. Then you do something else and you get unexpected results in another line, and you do that on a third line and then all of a sudden you see that one of these lines has something to do with the other. Then you make a discovery that you never could have made by going on a direct road.
When you can take something that is a reject at the thrift store sitting on the bottom of a pile of junk and make it work, make it look interesting, that's real style to me.
You always measure success by what you did last. It's hard to measure that because it's something that just comes. If someone can just make a hit, they would do it everyday. But you can't make a hit that you know is a hit every day.
If you don't take no chances, then you're not a performer. Performers always take chances. You go see a singer, they'll hit the high note. They'll hit that note, they're not afraid, they're gonna exaggerate the fact and make me enjoy it, make me say, 'Wow, I wish I could do that!'
If you don't take no chances, then you're not a performer. Performers always take chances. You go see a singer, they'll hit the high note. They'll hit that note, they're not afraid, they're gonna exaggerate the fact and make me enjoy it, make me say, 'Wow, I wish I could do that!
Personal style is about taking a risk, trying something unexpected, and having fun with fashion, but always being true to yourself.
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.
That's what stock-car racing is. You hit someone, or you get hit. That's something I had to learn. It's a key factor in why I'm so aggressive. I don't want to have to hit you. But if you're going to hit me, I'm going to hit you.
Make music when I want to in whatever style I would like to. That is something that I know that I'm not the only Nightwish member who has that. That's a luxury we can take, and we will.
Between Twitter and Facebook, early word of mouth for a film can destroy it immediately or take something you've never heard of and make it a huge hit.
Eventually, when I got the 'Meadowland' script, I saw something in it that made me think I could make something special out of it, something that could work with my style. Emotionally, I connected to it. I thought, 'If I feel this way just imagining it, maybe we can make that happen on screen and make people feel something when they watch it.'
I had to take the driver's test twice. And they don't make you parallel park anymore, but you can't hit the curb when you're backing up. And I hit the curb.
What I like about The Meddler style of movie is that it's a fairly lighthearted romantic comedy, but there are hidden moments where something happens that's unexpected, that hopefully have some kind of emotional resonance that you didn't see coming. I love when a film does that.
I always try to take the unexpected things and make them work for me.
Doesn't expecting the unexpected make the unexpected expected?
If you're hit with a lawsuit that's untrue and the reasons you're hit with it aren't clear to you, there's a very big inclination on people's part to want to take responsibility for it - that this must be happening because I'm a terrible person, I did something, and I'm getting repaid for it.
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