July 25, 2025 • 47 mins
Mitja Borkert, head of design and director of Centro Stile at Lamborghini, joins the podcast.
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Speaker 1 (00:02):
Bloomberg Audio Studios, podcasts, radio news. I'm Matt Miller and
I'm Hannah Elliott, and this is Hot Pursuit.
Speaker 2 (00:20):
What's going on? How was were you in Portugal?
Speaker 1 (00:22):
I was in Portugal. I was in Lisbon, or actually
Estill outside of Lisbon. You've been there, I'm sure your
travels Lisbon. Yes, there's that great track. So that track
might be my favorite track i've driven. It's so cool.
It's real old. Yes, it's like, I don't know, it's
(00:43):
kind of short. It's just over four k around for
a lap. It's got all different kinds of twisties. It's
got a great straightaway, it's got some elevation changes. Senna
drove on that track famously.
Speaker 2 (00:58):
GP there, but I don't Yeah, I don't think they
have a GP race there this year.
Speaker 1 (01:01):
It's a great track. And I drove that Lamborghini Temorrio,
which is the Hurricon replacement.
Speaker 2 (01:07):
So it's the kind of a Hurricane replacement, right because
it doesn't have I know.
Speaker 1 (01:11):
You're gonna say, I, Look, it's not that big a deal.
It's a great car. It's it's a turbo V eight
over nine hundred horse power hybrid.
Speaker 2 (01:23):
I'm sure, it's amazing, and I definitely care about amazing,
But I still take issue with the continuation of like
the outification of Lamborghini.
Speaker 1 (01:36):
The outification, Like what does that mean that Audi motors? Right,
this car actually was developed one hundred percent by Lamborghini,
very proudly, and the Hurricon was developed in conjunction with Audi.
This car was not. They still build some small components
of the powertrain in an Audi factory factory, but it
(01:59):
was developed one thousand percent by Lamborghini, and they're very
proud of that.
Speaker 2 (02:03):
I believe that they say, hey, Audi, can you give
us a blueprint of your engine so.
Speaker 1 (02:08):
We'll develop version No no that I think they would
disagree with you, and I would too. It honestly is
such a great driving car. It was quite a lot
of fun. So nine hundred horsepower V eight turbo charged,
what else? What else can we say? Zero to sixty
two and like two point seven seconds top speed of
(02:29):
two hundred and three miles an hour. I think I
hit about maybe one sixty five nice, I mean that's
pretty yeah for me, that's cooking. I'm not someone who
like notches in my belt. How fast I've gone on
wood track that's more of like, you know, more of
a bro thing. But yeah, I mean I do. I'm
(02:51):
noting it. I'm noting it. Yeah, it was good.
Speaker 2 (02:54):
It's a little scary though, when you're going that fast
to look down and verify how fast you're going, right.
Speaker 1 (02:59):
Then I look at but I'm like, wholl yeah, not really.
Speaker 2 (03:01):
But yeah, oh it's so what does it look like?
Speaker 1 (03:06):
So it looks if you ask Mitya Borkert, who is
our guest this week and the designer of Lamborghini, he'll
say it looks like a shark, and I agree. In
the context of Lamborghini, it looks a little bit toned
down in a way. The lines are simpler across the
top and the sides. But actually it has some really
(03:26):
interesting details that I really like. And it's also inspired
by sport bikes, which I feel like you will really appreciate,
especially the rear end because the exhaust is set really high,
so it's like the back of a you know, Panagale Ducatti.
Speaker 2 (03:46):
It's which makes sense, by the way, because Lamborghini is
in Santa Agata, yes, which is the suburb of Bologna exactly,
and Dukatti also is in Borgo Panagali, a suburb of Bologna. Exactly.
They're very like if you're visiting one, you should also
go to the other.
Speaker 1 (04:03):
Yeah, Like, I like how it looks. It's it's very geometric.
It has a lot of hexagon elements, including the fog
lights at the front, which are rather polarizing. I heard
several people I was with were disparaging them. They don't
necessarily bother me. The interior cabin is bigger than the
(04:26):
hurricane cabin, which is great for people like you and me.
That will take all the headspace we can get. I
was in it in a crash helmet and still had headroom,
So it's nice. And the screen inside is minimal And
I did ask Lamborghini about that, like what is your
take on screens in general, and they are really trying
to keep the screenage minimal, which good. I like me.
Speaker 2 (04:46):
Yes, So it doesn't feel like an Audie on the inside.
Speaker 1 (04:51):
No, No, it's it's pure Lamborghini. I mean, it's still
feels like a cockpit. It feels like you're in a jet.
There are there are bigger spaces for like cell phone chargers,
which is nice. The cup holders are in like you know,
common sense locations. The door actually opens wider than the Hurrican.
(05:13):
So my sense is they've really put a lot of
thought into making this a usable car, and they they
made practical adjustments.
Speaker 2 (05:21):
Still open like this right, yeah.
Speaker 1 (05:23):
Yeah, not suicide doors or not goaling doors, yes, because you.
Speaker 2 (05:28):
Know with the eventa door or at the higher price
to not the rivelto there you go. You have the
billionaire doors. But this is mere millionaire doors.
Speaker 1 (05:38):
This is entry level.
Speaker 2 (05:39):
Yeah.
Speaker 1 (05:39):
But that's not a disparaging thing to say. It's it's accessible.
I guess you could say as a daily driver, I.
Speaker 2 (05:49):
Suppose you could say that. Could have said about the
Hurrican too.
Speaker 1 (05:53):
You could, you could. I actually think this is a
nice evolution to the Hurrican. I would say it just
feel it feels more modern, it feels it's faster.
Speaker 2 (06:03):
Does it feel brutal, because I want a Lamborghini to feel.
Speaker 1 (06:05):
No, it doesn't feel No. Honestly, it doesn't feel bruto brutal.
It feels elegant and it feels agile and nimble.
Speaker 2 (06:12):
Weird, yeah, strange for a Lamborghini.
Speaker 1 (06:17):
Yeah, And I asked them about that. Even you know,
something like a Guyardo, which this car actually if you
see it in white. It kind of reminds there are elements,
especially towards the rear, that kind of look like a Guillardo.
I asked, well, are you losing your I asked, mister Winkleman,
Stefon Winkleman, are you losing some of your brand identity
making a car that you guys freely admit is not brutalist.
(06:40):
And he, you know, he gave me a corporate answer,
but he basically said no that you know, look at
the Mura. That is a very elegant looking car.
Speaker 2 (06:49):
Fair.
Speaker 1 (06:50):
We do have elements of elegance in our history, and
you know, you use a different tool for the job.
This is one part of Lamborghini. It's not the totality
of Likeamborghini. If you want something brutal, go elsewhere within
the But they're relying up.
Speaker 2 (07:04):
They're getting past kind of the era of machismo, right, Yeah,
because Lamborghini for a few decades was about like chest hair. Yeah,
you know, gold chains.
Speaker 1 (07:15):
I think they're modernizing by to.
Speaker 2 (07:17):
Drive a beautiful woman around.
Speaker 1 (07:18):
You know, I would say they are increasingly relevant to
the to the modern world. And it's I it's a
nice thing. It's still look, it's still a polarizing vehicle.
It's not for everybody, but I like that it has
a point of view and it takes a stance.
Speaker 2 (07:35):
Did they tell you anything about the name, because traditionally
Lamborghinis are named after bulls.
Speaker 1 (07:41):
Yeah, so Timorrio was, of course a fighting bull from
the eighteen hundreds, and the name is a Spanish name
that basically means like daring or brave. So again it's
following their line of they name everything after a ball.
This one is a bowl from a long time ago
that was daring.
Speaker 2 (07:58):
It's pretty cool, right, It's cool that they do that.
Speaker 1 (08:00):
Yeah, I like it. The other interesting thing they told
me was how they're dealing with some of the tariffs
that are affecting the whole automotive industry. They are rising,
raising prices to a certain degree. For instance, the euros
is going to be seven percent more expensive starting this month.
(08:21):
The Rivelta will go up ten percent. This car, the Temorario,
they're adding a seven percent increase.
Speaker 2 (08:27):
How much does it cost?
Speaker 1 (08:29):
Like the entry level is about three hundred and eighty thousand,
and then there's like a lightweight version that's as basically
another fifty thousand.
Speaker 2 (08:37):
On top of that, they take more away and charge
yeah extra, Yeah, I love it. Well, I mean at
that level. And if you're going to spend three eighty
for a car and then somebody.
Speaker 1 (08:46):
Want why not go all in exactly? Yeah, I think
the carbon fire or sorry, the wheels alone, which are
I think they're carbon rims. I want to say they
were like twenty six thousand.
Speaker 2 (08:58):
Yeah, a piece of the set for the set the set.
That's pretty good. Well, yeah, I feel like some Rolls
Royce wheels are twenty five grand a piece and really
they're not carbon fiber. Wow, that seems very expensive. Wow,
all right cool?
Speaker 3 (09:16):
Yah?
Speaker 2 (09:16):
So uh do we should we talk to the interview
or yeah? Okay, yeah, let's listen to the interview.
Speaker 1 (09:22):
So let's talk with media. I had a great time
talking with him while at the track in Portugal, and
you know, he's so well liked, he's been there forever.
Now he's such an interesting person to talk to. He's German,
but he works for an Italian company, so it's nice
to see like the dichotomy.
Speaker 2 (09:40):
Okay, let's listen in well, Media.
Speaker 1 (09:42):
Thank you for taking the time to talk to us.
It's always fun to talk with you.
Speaker 4 (09:47):
And now you become I feel part of this podcast.
Thank you.
Speaker 1 (09:51):
So we're here in Portugal to drive this brand new
car that you have spent two years about developing, or.
Speaker 3 (09:59):
At the end of the day, from day one when
I went to Lamborghini, the project was always with us
over the all these years.
Speaker 4 (10:06):
Yeah.
Speaker 1 (10:07):
Really, So this is the Temoraio, which is the successor
to the Hurricane, a brand new vehicle. Can you just
give us a quick overview of the cars so our
listeners can understand what we're talking about exactly.
Speaker 3 (10:20):
So it is our new I would say, the new
Rebellious sister, and in Italy the cars are female. The
new Rebellious sister to the Revueltoto is our V twelve
pinnacle supersports car, and the Temerario is our entry into
the world of Lamborghini supersports cars. Is a very compact,
very agile car, of course, with another stunning Lamborghini design.
Speaker 1 (10:45):
Let's talk about the design of the car, which of
course is what you oversaw earlier when we were speaking.
You said that every Lamorghini should look like a shark
to you, Can you explain what you meant by that?
Speaker 3 (10:59):
We have we have, of course a dedicated design d N,
A for I would start like this, maybe all the
all everyone that is listening should maybe know the Lamborghini
Kuntach is a piece of art.
Speaker 4 (11:11):
It's an iconic car.
Speaker 3 (11:13):
For us, the design is always going back to the
to this Kuntauch. And for me, the Kuntach is maybe
the first shark that that Lamborghini ever produced. What I
mean with the shark is when you when you go
to the aquarium and you see the all the all
the all the fish, and when you when then the
suddenly a shark is appearing. You see this this grace,
(11:35):
you see the beauty, you see this self confidence of
the animal. And for me, the Temrio especially is having
this purism because there is on on a shark. There
is the shark knows there's a very simple shape. There's
also very muscular muscular shape in terms of physics on
(11:57):
the car, and I see here some similarities on for them.
In general, we always we always play a little bit
different music, let's say, also to bring another aspect into it.
So but so every let's say, let's let's take like this,
every shark is then listening to a different type of music,
(12:19):
and like this we're creating than THEO or the Tamario
or whatever new special car we are about to create.
Speaker 1 (12:29):
Okay, so what song is the Timorario shark listening to?
Speaker 3 (12:33):
It is Themaros for sure, because it's a more younger
car for me. It is then maybe you know, kind
of like a like a tech house maybe, uh, something
a little bit more upbeat. There's we took the hexagon
as an element around the car, so that, for example,
the d r L makes it recognizable. We took the
(12:57):
hexagon shape, so the hexagon is the beat in that.
Speaker 4 (13:00):
Yeah, in this tech house track. Let's say.
Speaker 1 (13:03):
Okay, so talk to me about the hexagon shape that
features prominently throughout the car, and it's it's a pretty
geometric car. I see a lot of triangle lines too.
Can you talk about the process behind those shapes.
Speaker 4 (13:18):
Yes, the hexagon.
Speaker 3 (13:21):
Used to be I mean, for sure, the hexagon is
an is an element that is I don't know how
many one hundred thousands of years old, and it comes
also from biology and so on. But in terms of
architecture design, the hexagon used to be an element strongly
used in the sixties. When you look at sixties architecture,
(13:44):
the sixties was the.
Speaker 4 (13:45):
Was the.
Speaker 3 (13:47):
Time where there was the Concorde. There were there were
hexagonal shapes in general on the cars, also some shapes
on the cars, and then also an architecture in Los Angeles,
for example, there was also very important there was this
repetition of this graphic the hexagon or of graphical elements
(14:10):
used in architecture, and that was exactly the time when
Lamborghini started his journey into the super sports cars.
Speaker 4 (14:19):
So at that time.
Speaker 3 (14:21):
The designers were using the hexagon as an element also
in the cars.
Speaker 4 (14:26):
So it was first used on the rear mash of
the Mura, but.
Speaker 3 (14:32):
Then also very significant on the Lamborghini mazzal Everyone should
google this. Cars from nineteen sixty seven looks like from
Back to the Future, but it's fifteen years before that,
and that car was designed on the outside there was
a hexagon glass door panel, but the inside was full
of hexagon. So long story short, the hexagon is an
(14:54):
element of optimism of future from the sixties, really profoundly
integrat in the design of Lamborghili. If you have a
lot of hexagons, you have always the y shaped junctions.
So if we cut this we have the also the
y shape. So hexagon and y shape is part of
our repertoire of shapes and today used since more than
(15:17):
how twenty years?
Speaker 4 (15:18):
Also Lamborghini, when you.
Speaker 3 (15:20):
Look at the revuelto front DRL, but also when you
look at the tail lights of an Aventa door, so
that is very strongly an element of Lamborghini.
Speaker 1 (15:30):
Yeah. And it's interesting because with this car, you know,
the line itself of the car to me seems very
pure and very simple. But the more you look at
the car, the more you notice a lot of details
that are kind of coming out to you in a
three dimensional way. And also we talked a lot about
how the car is influenced by motorcycle designed. Can you
(15:53):
talk a little bit about that Matt's going to be
dying that he's missing this part of the conversation. Yeah,
us more about that.
Speaker 3 (16:01):
As you can feel I'm passionate about design, I'm very
passionate about Lamborghini. For me, it felt naturally when designing
Lamborghinis that when you look at also at the Kuntauch,
you see the rear view and you see exposed tires.
It was very strong.
Speaker 4 (16:22):
And cool on the Kuntach. I loved that.
Speaker 3 (16:24):
And when I start understanding what should be the design
DNA in Lamborghini, I found that a very important element. Then,
as on a personal level, I like a lot motor gp.
I like motorcycles since I was a kid. I really
like super sport motorcycles. I like the dynamic of those bikes,
(16:45):
the inclination. They are very much designed to expose the
wheels with a very slim body. And then over the
time I found that a perfect fit to our design
of our cars, especially the now is a car. You
see there's a very short rear and a high mounted
(17:06):
exos pipe, which is a lightweight solution. But then also
if you want, if you want to compare supersports car
as superspot bikes inside profile with the value, I think
you can understand what I'm talking totally.
Speaker 1 (17:20):
It's like the rear of a Panagalle or something.
Speaker 3 (17:23):
Exactly or some exactly very spotty and very much weggie
and inclinated.
Speaker 1 (17:30):
Yeah, now we also this this takes me back because
you also have really mentioned the Kuntash and other cars
from Lamborghini's pass and and I'll throw in the Gayado
as well. There seem to be elements that, like the
rear haunches are how much are you pulling specifically from
(17:50):
Lamborghini's archives. When you design something new and how and conversely,
how dangerous dangerous is it for you to be cut
up in this agia as a designer.
Speaker 3 (18:02):
This is I mean, I would in the end of
the day, we are a company that we want to.
Speaker 4 (18:08):
Look into the future. We are visionary.
Speaker 3 (18:10):
We you know, automatically, if you have the Kuntach in
your portfolio, your you're obsessed to discover the future. So therefore,
in my position as a design director, I'm I'm always overlooking,
let's say, the sketches and the design themes, always saying, hey, guys,
you know when we do the reviews of the of
(18:31):
the designs and the sketches, let's look into the future.
Let's not create something ritual and let's you know, because
we need to look ahead. And this is for sure
something where today in the in the in the world
full of Internet, full of inspiration, full of Instagram, full
of you know you are today, you are so much
(18:55):
inspiration every second. So I'm the one.
Speaker 4 (19:00):
Really like a like a policeman.
Speaker 3 (19:02):
Watching this design DNA always then saying hey, guys, for me,
this is a bit too much reminding this car or
that car, or maybe even from from other super sports cars.
So I'm the one always, let's say, throwing the stone
into the future, so in the way that we know
where we are marching to. This is very important Lamborghini
(19:23):
if of course it is automatically the case when you
just imagine the design center like a kitchen and you
have all the spices, the spices standing around. Of course
you can use pepper and salt and pepperoni and and
a little bit of kuntach and a little bit of
and they are so and but we are, of course
(19:46):
we are able to have these spices inside of our
then final result. But this is also my pleasure. Then,
so we create something new and then I leave it
totally to the customer, to the expert, to whoever enjoys
like to look at our cars, whatever fantasy they project
(20:06):
into the into their interpretation of the shapes.
Speaker 1 (20:10):
Are you very strict about your own intake of social
media and other things in terms of limiting what you're
exposed to that could affect your focus and your own
personal inspiration, or you sort of doors wide open, let
it all come in. Because I know you just said
you kind of police it a little bit for your team.
Speaker 3 (20:32):
Yeah, police, police it means it sounds a little bit
strict now, but.
Speaker 4 (20:39):
No, I mean no, no, no.
Speaker 3 (20:42):
The job is that we have let's say it boundary
is also a bit negative. But you need to have
you need to be authentic as a brand. So you have,
for example, when you look at the side view of
a Lamborghini, we have this typical profile, the single center
line silhouette that is recognizable, and you know, the rec
(21:04):
to be recognizable from far aways for me number one,
number one objective.
Speaker 4 (21:10):
Then let me tell you this story.
Speaker 3 (21:12):
And when I started in twenty sixteen, I was participating
in the fiftieth anniversary of the Mura and I was
totally new to the brand.
Speaker 4 (21:23):
And I got to know.
Speaker 3 (21:27):
A couple that and they are collecting Lamborghinis. They're one
of the most important. So I said, hey, hello, I'm
the new one. I'm Media. Nice nice to media. I
also my name, and then I said to her, I
have a question, So what is your favorite Lamborghini And
she said it's the Mura. And I said, and what
(21:47):
is your favorite Lamborghini And he said it's the Venero.
So the Venino is the most extreme type of Lamborghini
and the Mura is the most elegant one. And this
is exactly if you call it boundary, but this is
the this is the this is the range where we
are able to design Lamborghinis. So you see it is
(22:09):
there is a lot of freedom for this song, for
the different songs to be played in this in this
kind of field, so we are able to we are
able to create rock songs, We're able to create tech
house songs, we are able to create house Lamborghini can
play a lot of songs, but the artist is Lamborghini.
(22:32):
And therefore, I think if you want to have an
authentic design theme, you need to stay.
Speaker 4 (22:40):
True to yourself. But my job is not to be
the policeman, but to be.
Speaker 3 (22:45):
The one that is enabling then the creativity within this field.
Speaker 1 (22:56):
So what are the non negotiables for or Lamborghie when
you're talking about a really extreme car like the min
in No or a really elegant or more pure car
like the NeuRA, what are the non negotiables that each
has that are your guiding principle moving forward?
Speaker 3 (23:14):
For me, Lamborghini is for sure a very strong car.
As were talking about the shark, it's for sure one
of those predator animals and not the prey for sure,
but I'm totally against a too brutal and too overdesigned Lamborghini,
So for me, there would be a limit. Even we
(23:37):
are searching now for a more iconic and essential design
language where the purity and where we are searching also
to leave lines away, because in the end of the day,
the sculpture, the beautiful sculpture of a Lamborghini is really
amazing and it is the essence that we also try
(23:59):
to find here.
Speaker 4 (24:00):
But as I said, we have.
Speaker 3 (24:02):
So many fans, we have so many customers and expectations,
so I don't want to go too much in just
one direction, because I in the end of the day,
we want to fulfill a desire for all these customers
that want to buy a Lamborghini. But of course we
always we always showcase in our design studio. I would
(24:27):
call it manifesto, so we always have a sculpture where
we tried, and also different design languages or surface treatments,
always in the search of the next Lamborghini language, because
we never want to stand still. I don't want to
(24:49):
create brutal cars with too many wings. You know, they
shouldn't look like like those fantasy hot wheels cars.
Speaker 4 (24:57):
They should look like those.
Speaker 3 (25:00):
Beautifully shaped and you know where cars where you have
the right stands and the right size of the wheels
and where the body is sitting well on on on
the wheels.
Speaker 1 (25:11):
It sounds like you're describing proportion.
Speaker 4 (25:12):
Yes, proportion is important.
Speaker 3 (25:14):
There's always anyway essential proportion is also important for the Temerario.
Because we were speaking before, we are dealing with those projects.
Speaker 4 (25:26):
In the end of the day.
Speaker 3 (25:27):
The designer is always living I don't know, five, eight,
ten years ahead of the time when it's uncomfortable, but
where it's totally year with our hearts. But at the
end of the day, I'm I was dealing with those
cars since since I'm in Lamborghini twenty sixteen. So and
(25:48):
when you when you work on the bigger one or
on the on the B twelve one automatically or working
at least also in your head or in proportions also
on the other car, because everything has to have an
realistic approach, Everything has to fit together also in this
long term strategy, so proportions are crucial.
Speaker 4 (26:11):
Right in the beginning.
Speaker 1 (26:13):
Does that mean that it could be possible that you
have a car in mind that you really want to
see created, but the company or the parent group isn't
ready for that particular design at that moment. But maybe
ten years later you still have that car in your head,
and ten years later, all of a sudden, now it
(26:35):
feels right like the right time.
Speaker 3 (26:37):
Every idea has his moment, I would say, for sure.
You know, in the designer's creative mind, there there space
for a lot of executions, for a lot of visions,
for sure. So I mean, on one hand, we have
the things that we have to finish now, like the
(26:59):
products that we need to reach the market very soon.
And then of course constantly, you know, you get inspirations
any day and then you think like what about this
type of Lamborghini or what about if we leave away
the roof on that idea?
Speaker 4 (27:19):
So you have constantly the things. But therefore we have.
Speaker 3 (27:24):
A department, or we have the designers also in house
where we are doing design strategy, where we're doing advanced design,
where we are testing the things, because you know, as
a design director, I need to also enable parts of
the team to deal with that future.
Speaker 4 (27:42):
So because in my.
Speaker 3 (27:44):
Daily surrounding, for sure, everyone, I mean, I'm surrounded by
creative people. I'm surrounded by experts and everyone is an
expert in his field, but most of them there living
today and they can maybe imagine what is happening next year.
(28:04):
As a designer, you can, of course, you have a
stomach feeling what could be necessary in five years and
ten years, and therefore I need always to create the
space that we are able to think about those opportunities.
Speaker 1 (28:18):
I asked you this earlier, but I'd love to revisit
it for the podcast. What era of motorsport are we
in right now? How would you describe it from your
vantage point?
Speaker 4 (28:29):
Yeah, I mean I can.
Speaker 3 (28:32):
I can look in back to the seventies, so I mean,
I'm born seventy four. But in the seventies there were
there was one Ferrari and one Porsche and yeah slowly
in the Kundach not very many.
Speaker 4 (28:45):
Yeah, three cars at the end of the day.
Speaker 3 (28:48):
Forgive me if I forgot someone else's favorite supersports car.
Then in the eighties, I remember there was the Ferrari forty,
there was the Gundach, the Porsche nine five nine, so
and that kept on going because they're there there, There
have been always this, There was always one car that
made this big impact.
Speaker 4 (29:10):
So today, uh, we are living in the world.
Speaker 3 (29:13):
You go to Goodwood, or you go to Pebble Beach
to the Monterey Car Week.
Speaker 4 (29:18):
So in special moments in the year.
Speaker 3 (29:21):
You you are flooded a little bit with super sports
cars here. So today this is a big, a big
market where a lot of players are playing. In our case, Lamborghini.
I'm quite happy and this here, I'm very aware to
maintain this. You can have the parking lot full of
(29:41):
super sports cars, but if you put a Lamborghini in
the center, you will always recognize a Lamborghini because we
have that recognizable design DNA. And that's why, like a
policeman too, you know, we need to keep this this
recognizable shape of a Lamborghini so big use that makes
us standing out.
Speaker 4 (30:01):
So we are living in this moment and.
Speaker 3 (30:03):
See what is happening in the in the next ten years.
I'm sure this will at the moment will continue, but
maybe in the future we will see a little bit
more a clearer DNA also of some of the new
brands that are now entering the place.
Speaker 4 (30:21):
But I'm I'm a big fan of a.
Speaker 3 (30:24):
Clear identity, of a clear design DNA, of a clear
recognizability of your product.
Speaker 1 (30:30):
Yeah, that's interesting because it seems like Lamborghini really hit
the mark with the RS SUV. I mean that you
look at it and you know it's a Lamborghini even
though it's not a sports car. How were you surprised
that that has done so well? And was that a
challenge to figure out a way to translate the Lamborghini
(30:53):
DNA into something that is an suv.
Speaker 3 (30:59):
Is a wonderful full example that you know for sure
there was an incredible team works in terms of in
every component, the design, the technology that you know, the
way the car is behaving, the way that the DNA
of Euros is really a hit. So everyone that was
(31:20):
that worked on that car, everyone that decided for this
car made something really really right for sure. But for sure,
you know, the number one hit you cannot plan. I
think the number one hit has also to happen. And
again we were everyone was was doing his best to
(31:41):
do to create the Euros.
Speaker 4 (31:42):
And now over all these years we have this constant
success of this car.
Speaker 3 (31:48):
So it's a it's a it's a number one hit,
but already now since several.
Speaker 4 (31:52):
Years we're talking about it is a bit like that.
Speaker 3 (31:56):
But I guess every artist that had the number one
hit will not be able to tell why is it
the number one that it happened. So but again you
can work hard for for such a success for us
as it's a gift, another gift, because I mean still
we as a Lamborghini board or myself as a designer,
(32:17):
we travel a lot. We arrive in Japan, we arrive
in la we arrive in New York, wherever on the
planet we will. We will drive around with an Uros
and it's still turning heads. It's it's about the proportion.
Here's also one car that slowly becomes an icon. So
you cannot design an icon. I cannot sit down and
(32:38):
say now I'm creating an icon now. But the Uros
became an icon over time because of the proportions, because
of the right design decisions, and also because we are
now doing the right.
Speaker 4 (32:51):
Product steps, you know, starting.
Speaker 3 (32:54):
With us and as performance, so we are playing also
here I think the right rhythm strategyeah and strategy.
Speaker 1 (33:02):
Okay, So finally I just want to talk about your
own your own story really and and how you would
advise people who want to be where you are one day.
You know, if you were starting out now in this world,
do you think you would still be a car designer,
would you be something else?
Speaker 4 (33:23):
I guess, first of all, this is a question no
one can tell.
Speaker 3 (33:26):
I mean, I look, I have a personal I mean,
my story is very simple. I'm born in seventy four.
I'm born in East Germany. Maybe today it's forgotten that
Germany was split it on one time into the western
part and the eastern part, the Communist part.
Speaker 4 (33:47):
I didn't have, you know.
Speaker 3 (33:50):
Especially in the US, there are a lot of Johnt's
saying I used to have.
Speaker 4 (33:53):
This poot touch posted on my bedroom board. I didn't
have this.
Speaker 3 (33:56):
So I was growing up with all these Eastern cars, buns,
wat bog ladders, all these type of cars. I didn't
know about the Porsche. I didn't know about Ferrari, didn't
know about Lamborghini. So I discovered this very late. But
I wanted to be a designer. So I was five
six seven years old. My daddy collected all my sketched
(34:17):
of the of that time, so I sketched motorcycles.
Speaker 4 (34:20):
I don't know why I loved airplanes.
Speaker 3 (34:23):
There wasn't There wasn't Russian air base very close by,
so I remember every day.
Speaker 4 (34:28):
Was Meek flying over our town.
Speaker 3 (34:30):
Or I remember hearing them when they break the muck one,
you know, and so but I was so, I was
impressed by these things.
Speaker 4 (34:41):
Later on, in eighty eight eighty nine, I went with
my brother to hung Hungry.
Speaker 3 (34:48):
Hungry was more more liberal country in the Eastern Bloc
where also Western tourists were having holiday in Hungary. So
there was the moment where I've seen for the first time.
Also the motorcycles. I remember very well the motorcycles, all
(35:08):
the Kawasakis, Suzuki's Hondas, a little.
Speaker 4 (35:11):
Less to Ducats, I have to say.
Speaker 3 (35:12):
But and I remember the sound of those motorcycles, and
I knew that. I said I want such a I
need such a motorcycle one day. But in the end
of the day the wall came down in East Germany.
But then also after that, I remember sometimes the classmates
(35:33):
were saying, ah, but you want to be designer. Do
you think that people wait for you? That was even
more motivating me, I have to say. So I sketched,
I developed my own car brand. I informed myself about cars.
I was unstoppable, so I might recommendation. Recommendation would be
to anyone that wants to do not designed, but in
(35:57):
general what it wants to follow his passion. If you
feel it in your heart, just do it. Find out
who you are and be that person. So it's a
it's a it's a long way. In the end of
the day, you don't give up. You will you will,
you will fail, you need to stand up again.
Speaker 4 (36:16):
You will improve. You know I learned over all these
years now until today.
Speaker 3 (36:22):
Every day I'm doing mistake and tomorrow I will do
something better in the end of the day. Believe in yourself.
You need to be for sure disciplinated. You need to
you need to practice. Even if I'm now fifty one
years old, I still like sketching and I don't want
to give up on that, on that skill because you.
Speaker 1 (36:41):
Know, is like, is that an essential skill for someone
who wants to be a car designer today?
Speaker 4 (36:46):
Maybe? Maybe not, but for sure it is helpful.
Speaker 3 (36:50):
Yeah, because you know it's if you if you meet
your boss and and you just take a quicker piece
of paper and you sketch your idea is yeah, you
know you will. You will get your idea through. It's
not so easy maybe to find the next AI computer,
but it is for sure, and it's a beautiful skill
because you can I don't know. For someone that is created,
(37:13):
it is you sit in the airplane, you take menu
card and you sketch on top of that. So it's
I would wouldn't miss it. It's sketching is like breathing
lungs into the into It's like breathing air into the
lungs of a designer. So in my opinion, yes, but
also for card designer, I'm trying to teach my, my, my,
(37:34):
my team the taping, so it is a very manual
process as well. So of course it's very digital now
a lot of tools, incredible tools today that you can use,
you can I mean also the design process. Yeah, how
much is developed over the last twenty years.
Speaker 4 (37:53):
And if I just now.
Speaker 3 (37:54):
Imagine with the revolution now it's revolution time with AI. Now,
I would not even say the next twenty years. I'm
saying in the next two to five years, there will
be also a big, big, big change with the AI
influencing creativity.
Speaker 4 (38:12):
So I have to ask you.
Speaker 1 (38:13):
I know, I said that was my last question, But
now that we're on AI, is that a good influence
on creativity or does it have the potential to flatten
human creativity?
Speaker 3 (38:24):
No, I think it's a tool you need to mastery.
Of course, you know it will be the revolution I
think for the entire human being, because in the end
of the day we can maybe decide if we will
have terminator, a terminator future, or another more positive future.
In the end of the day, it is, as always
(38:48):
is an opportunity that needs to be used in.
Speaker 4 (38:52):
A senseful and positive way.
Speaker 3 (38:54):
Of course, you can be always scared, because the human
kind is of course having so sometimes.
Speaker 4 (39:00):
Very very very mean ideas.
Speaker 3 (39:03):
But in terms of creativity, it is it's so fantastic
because you can, I mean already we are using it
in our design team. You can you can bring things alive.
You have your clay model that is just in one
brown color, you take a photo, put it in the system,
(39:23):
and you will have i don't know immediately like like
a press image that you can then modify yourself and photoshop.
Speaker 4 (39:31):
And this is just one little part of this creativity.
So it is for.
Speaker 3 (39:37):
Everyone, for the designer, for engineers, for for it's it's
an unstoppable revolution.
Speaker 4 (39:43):
Everyone needs to deal with media worker. Thank you so much, appreciate,
thank you.
Speaker 1 (39:49):
Okay, so there you have it. You it was it
was good. You were really missed Matt, and I know
that you've been gallivanting around Italy.
Speaker 2 (40:00):
Yes, I was in. I was just south of Sienna
for a week with my family and we had a
fantastic time. We saw Palio, like a mini Palio because
the we were too late for the Sienna for the
main one. But it was very cool and we ate
a ton of delicious food. And then I sort of
(40:22):
sent my wife and kids to Spain. She's from there.
Speaker 1 (40:26):
Oh that's the relevant information to.
Speaker 2 (40:29):
Visit her family, but I can't take off as much
time as she can, or rather she.
Speaker 1 (40:33):
Are they still there now?
Speaker 2 (40:34):
They're still there because her company also has an office
in Valencia. She continues to work there. And then the
grandma lost his the kids. But anyway, yeah, it was
great fun. I saw some really cool cars. Oh, I
had the worst experience actually driving a BMW I X.
(40:55):
So we get to Rome and I had rented an
Audi A six and Electric A six.
Speaker 1 (41:02):
You were thinking station wagon and they pushed you into
the IX.
Speaker 2 (41:05):
They said it's not fully charged. So first they wanted
me to drive the I five, but it was like
the I five E forty, so it was like the
lower battery version, and I said no, no, no, no, So
they said, okay, we have an IX, which I've driven
in the past here a couple of times and had
a great experience with. However, at that time when I
(41:30):
was driving it here, I was charging it at my
house at night, and I wasn't worried about recharging anywhere.
When you're on vacation and you're staying in a place
that doesn't have a charger, it's a completely different story,
especially in rural Tuscan, right. So we were constantly out
of charge, and like we'd drive into these small towns
to have dinner and I'd find a little charger that
(41:52):
was charging at like eleven kilo lot hours, you know,
and you know, by the time we were done with dinner,
we'd gained like forty miles. So it was like range
anxiety the whole time. And then, to make matters worse,
on the last day, I took it to a supercharger
before we drove back to Rome, filled it all the
way up to I think three hundred and fifty miles
(42:15):
and our trip to Rome was only two hundred miles,
so I felt it would be fine.
Speaker 1 (42:20):
Math I can do the math exactly.
Speaker 2 (42:22):
Yeah, So we're on the Highway, and I'm seeing like, Okay,
now we've got one hundred and fifty miles left to Rome,
and but we've only got two hundred miles of range.
All of a sudden, we've driven fifty miles and we've
used one hundred fifty miles of the rain.
Speaker 1 (42:35):
I mean, the miles don't correlate to actual miles.
Speaker 2 (42:38):
It was just like exponentially dropping. It was I'm insane.
So not only was I nervous that I wasn't gonna
make it, and I'm like trying to get my kids
and my wife on a connecting flight right, So yes,
there was something at stake, But also I was angry
at the carner for like, you know, sandbagging me, basically
(42:59):
telling me I had three fifties, so I thought I'd
have one fifty to spare. By the time we got
to the airport, I had seven kilometers of rangels.
Speaker 1 (43:08):
I would have had an ulcer.
Speaker 2 (43:09):
It was insane and I will never rent an electric
vehicle again, no wonder. You know, the fleet car companies
with fleets of evs don't do well. It's just a
horrible vehicle to rent unless you're willing to do like
all of the leg work and constantly calculate where you're
(43:32):
going to find a charge not fine, how long you
have to charge it. No, it's not a cool thing
to do on vacation.
Speaker 1 (43:37):
So it's not charming in Italy to be desperately searching
for a charger.
Speaker 2 (43:43):
And my my friends, we were there with another family.
They had an X five diesel and I was so
jealous because like A like a it's a better looking
car by far, you know, and they've got diesel power,
(44:03):
so they were they never had range anxiety. They are
like fill it up once and then drive it around.
Speaker 1 (44:07):
For two weeks, you know, so insult to injury.
Speaker 2 (44:10):
Yeah I made I made a bad decision, basically live
and learn.
Speaker 1 (44:14):
So man, well you made it back.
Speaker 2 (44:16):
Never never did that again, No did. But it was
nice to be in Italy.
Speaker 1 (44:20):
Italy is always nice.
Speaker 2 (44:22):
And there were some really cool cars. I noticed, you know,
there were so many Fiat pandas.
Speaker 1 (44:28):
Like old ones, the insigable old.
Speaker 2 (44:30):
Old you know, from the at least eighties or nineties.
And I remember when I was in German university, a
friend of ours had a Fiat Panda and we always
made fun of him because we thought it was literally
the worst car that you could possibly own. But my
wife and I told her that because her mom had
a Fiat Panda as well. She pointed out, like, if
(44:54):
they're really such bad cars, why are there so many
of them still in service? Yes, and it's like the
car if you're living in a Tuscan mountain town.
Speaker 1 (45:04):
Oh, I know, I love it.
Speaker 2 (45:05):
It's got four by four. It kind of looks like
a lot of Yes, I had a friend, what a
great car?
Speaker 1 (45:11):
Any king. You know, there are companies that outsource those
to the US, Like you could pay the company to
do it, because they're, like you say, are so prevalent
over there, and they're kind of great. They're a great size.
And there are companies that ship to the US. Yeah,
and they'll you know, do all the paperwork.
Speaker 2 (45:30):
It makes sense. I mean, they just they must have
hundreds of thousands of kilometers on them by now, the
ones that we saw, and they have four by four,
they're obviously good enough to deal with mountains in the winter.
Speaker 1 (45:40):
What color was your friend's car with?
Speaker 2 (45:43):
My friend's Fiat Panda is white, which made it worse.
Speaker 1 (45:46):
You know, it wasn't like an all of a cool hunter.
Speaker 2 (45:50):
He was like the only guy in our fraternity that
had a car at school back then, so we would
always use it, you know, cringingly. Yeah, kind of like
Cameron's car, you know, and Ferris Bueller's day off, but
not the Ferrari.
Speaker 1 (46:07):
That's so cool.
Speaker 2 (46:08):
Yeah, it was really cool to see all those cars,
and a lot of Suzuki Jimneys too, which are awesome.
Speaker 1 (46:12):
Oh so cool.
Speaker 2 (46:13):
I mean I wish we could get those I now,
especially the most recent ones that look like baby cheese.
Speaker 1 (46:18):
I every now and then I see one driving around
Silver Lake and I'm like, oh, that is so.
Speaker 2 (46:24):
They were seventeen grand when they came out. Wow, it
was like twenty eighteen, twenty nineteen when you started seeing
that new generation and that was a euro price. So
seventeen thousand euros what a cheap.
Speaker 1 (46:39):
Seems like a lot of car for with a stick
like one more do you need?
Speaker 2 (46:43):
I really would love to have one of those anyhow cool?
Speaker 3 (46:48):
Yeah?
Speaker 1 (46:48):
Are you glad you're back?
Speaker 2 (46:50):
I'm glad we're both in the same party. Are you
here for fish? Are you here because of fish at
Forest Hills?
Speaker 1 (46:57):
No, no one has ever said that to me before.
Are you here for fish? No? Are you are you
going to fish.
Speaker 2 (47:04):
Absolutely, When is that tonight?
Speaker 1 (47:07):
Oh my gosh. No, I'm not here for fish. I'm
here for to see you. I'm here to see you.
Speaker 2 (47:12):
It's great to see you.
Speaker 1 (47:13):
I don't need another reason.
Speaker 2 (47:15):
All right, that's all we have for this week. See
you back here, same time, same place next week.
Speaker 1 (47:19):
I'm Att Miller, and I'm Hannah Elliott, and this is Bloomberg.
Bloomberg Audio Studios, podcasts, radio news. I'm Matt Miller and
I'm Hannah Elliott, and this is Hot Pursuit.
Speaker 2 (00:20):
What's going on? How was were you in Portugal?
Speaker 1 (00:22):
I was in Portugal. I was in Lisbon, or actually
Estill outside of Lisbon. You've been there, I'm sure your
travels Lisbon. Yes, there's that great track. So that track
might be my favorite track i've driven. It's so cool.
It's real old. Yes, it's like, I don't know, it's
(00:43):
kind of short. It's just over four k around for
a lap. It's got all different kinds of twisties. It's
got a great straightaway, it's got some elevation changes. Senna
drove on that track famously.
Speaker 2 (00:58):
GP there, but I don't Yeah, I don't think they
have a GP race there this year.
Speaker 1 (01:01):
It's a great track. And I drove that Lamborghini Temorrio,
which is the Hurricon replacement.
Speaker 2 (01:07):
So it's the kind of a Hurricane replacement, right because
it doesn't have I know.
Speaker 1 (01:11):
You're gonna say, I, Look, it's not that big a deal.
It's a great car. It's it's a turbo V eight
over nine hundred horse power hybrid.
Speaker 2 (01:23):
I'm sure, it's amazing, and I definitely care about amazing,
But I still take issue with the continuation of like
the outification of Lamborghini.
Speaker 1 (01:36):
The outification, Like what does that mean that Audi motors? Right,
this car actually was developed one hundred percent by Lamborghini,
very proudly, and the Hurricon was developed in conjunction with Audi.
This car was not. They still build some small components
of the powertrain in an Audi factory factory, but it
(01:59):
was developed one thousand percent by Lamborghini, and they're very
proud of that.
Speaker 2 (02:03):
I believe that they say, hey, Audi, can you give
us a blueprint of your engine so.
Speaker 1 (02:08):
We'll develop version No no that I think they would
disagree with you, and I would too. It honestly is
such a great driving car. It was quite a lot
of fun. So nine hundred horsepower V eight turbo charged,
what else? What else can we say? Zero to sixty
two and like two point seven seconds top speed of
(02:29):
two hundred and three miles an hour. I think I
hit about maybe one sixty five nice, I mean that's
pretty yeah for me, that's cooking. I'm not someone who
like notches in my belt. How fast I've gone on
wood track that's more of like, you know, more of
a bro thing. But yeah, I mean I do. I'm
(02:51):
noting it. I'm noting it. Yeah, it was good.
Speaker 2 (02:54):
It's a little scary though, when you're going that fast
to look down and verify how fast you're going, right.
Speaker 1 (02:59):
Then I look at but I'm like, wholl yeah, not really.
Speaker 2 (03:01):
But yeah, oh it's so what does it look like?
Speaker 1 (03:06):
So it looks if you ask Mitya Borkert, who is
our guest this week and the designer of Lamborghini, he'll
say it looks like a shark, and I agree. In
the context of Lamborghini, it looks a little bit toned
down in a way. The lines are simpler across the
top and the sides. But actually it has some really
(03:26):
interesting details that I really like. And it's also inspired
by sport bikes, which I feel like you will really appreciate,
especially the rear end because the exhaust is set really high,
so it's like the back of a you know, Panagale Ducatti.
Speaker 2 (03:46):
It's which makes sense, by the way, because Lamborghini is
in Santa Agata, yes, which is the suburb of Bologna exactly,
and Dukatti also is in Borgo Panagali, a suburb of Bologna. Exactly.
They're very like if you're visiting one, you should also
go to the other.
Speaker 1 (04:03):
Yeah, Like, I like how it looks. It's it's very geometric.
It has a lot of hexagon elements, including the fog
lights at the front, which are rather polarizing. I heard
several people I was with were disparaging them. They don't
necessarily bother me. The interior cabin is bigger than the
(04:26):
hurricane cabin, which is great for people like you and me.
That will take all the headspace we can get. I
was in it in a crash helmet and still had headroom,
So it's nice. And the screen inside is minimal And
I did ask Lamborghini about that, like what is your
take on screens in general, and they are really trying
to keep the screenage minimal, which good. I like me.
Speaker 2 (04:46):
Yes, So it doesn't feel like an Audie on the inside.
Speaker 1 (04:51):
No, No, it's it's pure Lamborghini. I mean, it's still
feels like a cockpit. It feels like you're in a jet.
There are there are bigger spaces for like cell phone chargers,
which is nice. The cup holders are in like you know,
common sense locations. The door actually opens wider than the Hurrican.
(05:13):
So my sense is they've really put a lot of
thought into making this a usable car, and they they
made practical adjustments.
Speaker 2 (05:21):
Still open like this right, yeah.
Speaker 1 (05:23):
Yeah, not suicide doors or not goaling doors, yes, because you.
Speaker 2 (05:28):
Know with the eventa door or at the higher price
to not the rivelto there you go. You have the
billionaire doors. But this is mere millionaire doors.
Speaker 1 (05:38):
This is entry level.
Speaker 2 (05:39):
Yeah.
Speaker 1 (05:39):
But that's not a disparaging thing to say. It's it's accessible.
I guess you could say as a daily driver, I.
Speaker 2 (05:49):
Suppose you could say that. Could have said about the
Hurrican too.
Speaker 1 (05:53):
You could, you could. I actually think this is a
nice evolution to the Hurrican. I would say it just
feel it feels more modern, it feels it's faster.
Speaker 2 (06:03):
Does it feel brutal, because I want a Lamborghini to feel.
Speaker 1 (06:05):
No, it doesn't feel No. Honestly, it doesn't feel bruto brutal.
It feels elegant and it feels agile and nimble.
Speaker 2 (06:12):
Weird, yeah, strange for a Lamborghini.
Speaker 1 (06:17):
Yeah, And I asked them about that. Even you know,
something like a Guyardo, which this car actually if you
see it in white. It kind of reminds there are elements,
especially towards the rear, that kind of look like a Guillardo.
I asked, well, are you losing your I asked, mister Winkleman,
Stefon Winkleman, are you losing some of your brand identity
making a car that you guys freely admit is not brutalist.
(06:40):
And he, you know, he gave me a corporate answer,
but he basically said no that you know, look at
the Mura. That is a very elegant looking car.
Speaker 2 (06:49):
Fair.
Speaker 1 (06:50):
We do have elements of elegance in our history, and
you know, you use a different tool for the job.
This is one part of Lamborghini. It's not the totality
of Likeamborghini. If you want something brutal, go elsewhere within
the But they're relying up.
Speaker 2 (07:04):
They're getting past kind of the era of machismo, right, Yeah,
because Lamborghini for a few decades was about like chest hair. Yeah,
you know, gold chains.
Speaker 1 (07:15):
I think they're modernizing by to.
Speaker 2 (07:17):
Drive a beautiful woman around.
Speaker 1 (07:18):
You know, I would say they are increasingly relevant to
the to the modern world. And it's I it's a
nice thing. It's still look, it's still a polarizing vehicle.
It's not for everybody, but I like that it has
a point of view and it takes a stance.
Speaker 2 (07:35):
Did they tell you anything about the name, because traditionally
Lamborghinis are named after bulls.
Speaker 1 (07:41):
Yeah, so Timorrio was, of course a fighting bull from
the eighteen hundreds, and the name is a Spanish name
that basically means like daring or brave. So again it's
following their line of they name everything after a ball.
This one is a bowl from a long time ago
that was daring.
Speaker 2 (07:58):
It's pretty cool, right, It's cool that they do that.
Speaker 1 (08:00):
Yeah, I like it. The other interesting thing they told
me was how they're dealing with some of the tariffs
that are affecting the whole automotive industry. They are rising,
raising prices to a certain degree. For instance, the euros
is going to be seven percent more expensive starting this month.
(08:21):
The Rivelta will go up ten percent. This car, the Temorario,
they're adding a seven percent increase.
Speaker 2 (08:27):
How much does it cost?
Speaker 1 (08:29):
Like the entry level is about three hundred and eighty thousand,
and then there's like a lightweight version that's as basically
another fifty thousand.
Speaker 2 (08:37):
On top of that, they take more away and charge
yeah extra, Yeah, I love it. Well, I mean at
that level. And if you're going to spend three eighty
for a car and then somebody.
Speaker 1 (08:46):
Want why not go all in exactly? Yeah, I think
the carbon fire or sorry, the wheels alone, which are
I think they're carbon rims. I want to say they
were like twenty six thousand.
Speaker 2 (08:58):
Yeah, a piece of the set for the set the set.
That's pretty good. Well, yeah, I feel like some Rolls
Royce wheels are twenty five grand a piece and really
they're not carbon fiber. Wow, that seems very expensive. Wow,
all right cool?
Speaker 3 (09:16):
Yah?
Speaker 2 (09:16):
So uh do we should we talk to the interview
or yeah? Okay, yeah, let's listen to the interview.
Speaker 1 (09:22):
So let's talk with media. I had a great time
talking with him while at the track in Portugal, and
you know, he's so well liked, he's been there forever.
Now he's such an interesting person to talk to. He's German,
but he works for an Italian company, so it's nice
to see like the dichotomy.
Speaker 2 (09:40):
Okay, let's listen in well, Media.
Speaker 1 (09:42):
Thank you for taking the time to talk to us.
It's always fun to talk with you.
Speaker 4 (09:47):
And now you become I feel part of this podcast.
Thank you.
Speaker 1 (09:51):
So we're here in Portugal to drive this brand new
car that you have spent two years about developing, or.
Speaker 3 (09:59):
At the end of the day, from day one when
I went to Lamborghini, the project was always with us
over the all these years.
Speaker 4 (10:06):
Yeah.
Speaker 1 (10:07):
Really, So this is the Temoraio, which is the successor
to the Hurricane, a brand new vehicle. Can you just
give us a quick overview of the cars so our
listeners can understand what we're talking about exactly.
Speaker 3 (10:20):
So it is our new I would say, the new
Rebellious sister, and in Italy the cars are female. The
new Rebellious sister to the Revueltoto is our V twelve
pinnacle supersports car, and the Temerario is our entry into
the world of Lamborghini supersports cars. Is a very compact,
very agile car, of course, with another stunning Lamborghini design.
Speaker 1 (10:45):
Let's talk about the design of the car, which of
course is what you oversaw earlier when we were speaking.
You said that every Lamorghini should look like a shark
to you, Can you explain what you meant by that?
Speaker 3 (10:59):
We have we have, of course a dedicated design d N,
A for I would start like this, maybe all the
all everyone that is listening should maybe know the Lamborghini
Kuntach is a piece of art.
Speaker 4 (11:11):
It's an iconic car.
Speaker 3 (11:13):
For us, the design is always going back to the
to this Kuntauch. And for me, the Kuntach is maybe
the first shark that that Lamborghini ever produced. What I
mean with the shark is when you when you go
to the aquarium and you see the all the all
the all the fish, and when you when then the
suddenly a shark is appearing. You see this this grace,
(11:35):
you see the beauty, you see this self confidence of
the animal. And for me, the Temrio especially is having
this purism because there is on on a shark. There
is the shark knows there's a very simple shape. There's
also very muscular muscular shape in terms of physics on
(11:57):
the car, and I see here some similarities on for them.
In general, we always we always play a little bit
different music, let's say, also to bring another aspect into it.
So but so every let's say, let's let's take like this,
every shark is then listening to a different type of music,
(12:19):
and like this we're creating than THEO or the Tamario
or whatever new special car we are about to create.
Speaker 1 (12:29):
Okay, so what song is the Timorario shark listening to?
Speaker 3 (12:33):
It is Themaros for sure, because it's a more younger
car for me. It is then maybe you know, kind
of like a like a tech house maybe, uh, something
a little bit more upbeat. There's we took the hexagon
as an element around the car, so that, for example,
the d r L makes it recognizable. We took the
(12:57):
hexagon shape, so the hexagon is the beat in that.
Speaker 4 (13:00):
Yeah, in this tech house track. Let's say.
Speaker 1 (13:03):
Okay, so talk to me about the hexagon shape that
features prominently throughout the car, and it's it's a pretty
geometric car. I see a lot of triangle lines too.
Can you talk about the process behind those shapes.
Speaker 4 (13:18):
Yes, the hexagon.
Speaker 3 (13:21):
Used to be I mean, for sure, the hexagon is
an is an element that is I don't know how
many one hundred thousands of years old, and it comes
also from biology and so on. But in terms of
architecture design, the hexagon used to be an element strongly
used in the sixties. When you look at sixties architecture,
(13:44):
the sixties was the.
Speaker 4 (13:45):
Was the.
Speaker 3 (13:47):
Time where there was the Concorde. There were there were
hexagonal shapes in general on the cars, also some shapes
on the cars, and then also an architecture in Los Angeles,
for example, there was also very important there was this
repetition of this graphic the hexagon or of graphical elements
(14:10):
used in architecture, and that was exactly the time when
Lamborghini started his journey into the super sports cars.
Speaker 4 (14:19):
So at that time.
Speaker 3 (14:21):
The designers were using the hexagon as an element also
in the cars.
Speaker 4 (14:26):
So it was first used on the rear mash of
the Mura, but.
Speaker 3 (14:32):
Then also very significant on the Lamborghini mazzal Everyone should
google this. Cars from nineteen sixty seven looks like from
Back to the Future, but it's fifteen years before that,
and that car was designed on the outside there was
a hexagon glass door panel, but the inside was full
of hexagon. So long story short, the hexagon is an
(14:54):
element of optimism of future from the sixties, really profoundly
integrat in the design of Lamborghili. If you have a
lot of hexagons, you have always the y shaped junctions.
So if we cut this we have the also the
y shape. So hexagon and y shape is part of
our repertoire of shapes and today used since more than
(15:17):
how twenty years?
Speaker 4 (15:18):
Also Lamborghini, when you.
Speaker 3 (15:20):
Look at the revuelto front DRL, but also when you
look at the tail lights of an Aventa door, so
that is very strongly an element of Lamborghini.
Speaker 1 (15:30):
Yeah. And it's interesting because with this car, you know,
the line itself of the car to me seems very
pure and very simple. But the more you look at
the car, the more you notice a lot of details
that are kind of coming out to you in a
three dimensional way. And also we talked a lot about
how the car is influenced by motorcycle designed. Can you
(15:53):
talk a little bit about that Matt's going to be
dying that he's missing this part of the conversation. Yeah,
us more about that.
Speaker 3 (16:01):
As you can feel I'm passionate about design, I'm very
passionate about Lamborghini. For me, it felt naturally when designing
Lamborghinis that when you look at also at the Kuntauch,
you see the rear view and you see exposed tires.
It was very strong.
Speaker 4 (16:22):
And cool on the Kuntach. I loved that.
Speaker 3 (16:24):
And when I start understanding what should be the design
DNA in Lamborghini, I found that a very important element. Then,
as on a personal level, I like a lot motor gp.
I like motorcycles since I was a kid. I really
like super sport motorcycles. I like the dynamic of those bikes,
(16:45):
the inclination. They are very much designed to expose the
wheels with a very slim body. And then over the
time I found that a perfect fit to our design
of our cars, especially the now is a car. You
see there's a very short rear and a high mounted
(17:06):
exos pipe, which is a lightweight solution. But then also
if you want, if you want to compare supersports car
as superspot bikes inside profile with the value, I think
you can understand what I'm talking totally.
Speaker 1 (17:20):
It's like the rear of a Panagalle or something.
Speaker 3 (17:23):
Exactly or some exactly very spotty and very much weggie
and inclinated.
Speaker 1 (17:30):
Yeah, now we also this this takes me back because
you also have really mentioned the Kuntash and other cars
from Lamborghini's pass and and I'll throw in the Gayado
as well. There seem to be elements that, like the
rear haunches are how much are you pulling specifically from
(17:50):
Lamborghini's archives. When you design something new and how and conversely,
how dangerous dangerous is it for you to be cut
up in this agia as a designer.
Speaker 3 (18:02):
This is I mean, I would in the end of
the day, we are a company that we want to.
Speaker 4 (18:08):
Look into the future. We are visionary.
Speaker 3 (18:10):
We you know, automatically, if you have the Kuntach in
your portfolio, your you're obsessed to discover the future. So therefore,
in my position as a design director, I'm I'm always overlooking,
let's say, the sketches and the design themes, always saying, hey, guys,
you know when we do the reviews of the of
(18:31):
the designs and the sketches, let's look into the future.
Let's not create something ritual and let's you know, because
we need to look ahead. And this is for sure
something where today in the in the in the world
full of Internet, full of inspiration, full of Instagram, full
of you know you are today, you are so much
(18:55):
inspiration every second. So I'm the one.
Speaker 4 (19:00):
Really like a like a policeman.
Speaker 3 (19:02):
Watching this design DNA always then saying hey, guys, for me,
this is a bit too much reminding this car or
that car, or maybe even from from other super sports cars.
So I'm the one always, let's say, throwing the stone
into the future, so in the way that we know
where we are marching to. This is very important Lamborghini
(19:23):
if of course it is automatically the case when you
just imagine the design center like a kitchen and you
have all the spices, the spices standing around. Of course
you can use pepper and salt and pepperoni and and
a little bit of kuntach and a little bit of
and they are so and but we are, of course
(19:46):
we are able to have these spices inside of our
then final result. But this is also my pleasure. Then,
so we create something new and then I leave it
totally to the customer, to the expert, to whoever enjoys
like to look at our cars, whatever fantasy they project
(20:06):
into the into their interpretation of the shapes.
Speaker 1 (20:10):
Are you very strict about your own intake of social
media and other things in terms of limiting what you're
exposed to that could affect your focus and your own
personal inspiration, or you sort of doors wide open, let
it all come in. Because I know you just said
you kind of police it a little bit for your team.
Speaker 3 (20:32):
Yeah, police, police it means it sounds a little bit
strict now, but.
Speaker 4 (20:39):
No, I mean no, no, no.
Speaker 3 (20:42):
The job is that we have let's say it boundary
is also a bit negative. But you need to have
you need to be authentic as a brand. So you have,
for example, when you look at the side view of
a Lamborghini, we have this typical profile, the single center
line silhouette that is recognizable, and you know, the rec
(21:04):
to be recognizable from far aways for me number one,
number one objective.
Speaker 4 (21:10):
Then let me tell you this story.
Speaker 3 (21:12):
And when I started in twenty sixteen, I was participating
in the fiftieth anniversary of the Mura and I was
totally new to the brand.
Speaker 4 (21:23):
And I got to know.
Speaker 3 (21:27):
A couple that and they are collecting Lamborghinis. They're one
of the most important. So I said, hey, hello, I'm
the new one. I'm Media. Nice nice to media. I
also my name, and then I said to her, I
have a question, So what is your favorite Lamborghini And
she said it's the Mura. And I said, and what
(21:47):
is your favorite Lamborghini And he said it's the Venero.
So the Venino is the most extreme type of Lamborghini
and the Mura is the most elegant one. And this
is exactly if you call it boundary, but this is
the this is the this is the range where we
are able to design Lamborghinis. So you see it is
(22:09):
there is a lot of freedom for this song, for
the different songs to be played in this in this
kind of field, so we are able to we are
able to create rock songs, We're able to create tech
house songs, we are able to create house Lamborghini can
play a lot of songs, but the artist is Lamborghini.
(22:32):
And therefore, I think if you want to have an
authentic design theme, you need to stay.
Speaker 4 (22:40):
True to yourself. But my job is not to be
the policeman, but to be.
Speaker 3 (22:45):
The one that is enabling then the creativity within this field.
Speaker 1 (22:56):
So what are the non negotiables for or Lamborghie when
you're talking about a really extreme car like the min
in No or a really elegant or more pure car
like the NeuRA, what are the non negotiables that each
has that are your guiding principle moving forward?
Speaker 3 (23:14):
For me, Lamborghini is for sure a very strong car.
As were talking about the shark, it's for sure one
of those predator animals and not the prey for sure,
but I'm totally against a too brutal and too overdesigned Lamborghini,
So for me, there would be a limit. Even we
(23:37):
are searching now for a more iconic and essential design
language where the purity and where we are searching also
to leave lines away, because in the end of the day,
the sculpture, the beautiful sculpture of a Lamborghini is really
amazing and it is the essence that we also try
(23:59):
to find here.
Speaker 4 (24:00):
But as I said, we have.
Speaker 3 (24:02):
So many fans, we have so many customers and expectations,
so I don't want to go too much in just
one direction, because I in the end of the day,
we want to fulfill a desire for all these customers
that want to buy a Lamborghini. But of course we
always we always showcase in our design studio. I would
(24:27):
call it manifesto, so we always have a sculpture where
we tried, and also different design languages or surface treatments,
always in the search of the next Lamborghini language, because
we never want to stand still. I don't want to
(24:49):
create brutal cars with too many wings. You know, they
shouldn't look like like those fantasy hot wheels cars.
Speaker 4 (24:57):
They should look like those.
Speaker 3 (25:00):
Beautifully shaped and you know where cars where you have
the right stands and the right size of the wheels
and where the body is sitting well on on on
the wheels.
Speaker 1 (25:11):
It sounds like you're describing proportion.
Speaker 4 (25:12):
Yes, proportion is important.
Speaker 3 (25:14):
There's always anyway essential proportion is also important for the Temerario.
Because we were speaking before, we are dealing with those projects.
Speaker 4 (25:26):
In the end of the day.
Speaker 3 (25:27):
The designer is always living I don't know, five, eight,
ten years ahead of the time when it's uncomfortable, but
where it's totally year with our hearts. But at the
end of the day, I'm I was dealing with those
cars since since I'm in Lamborghini twenty sixteen. So and
(25:48):
when you when you work on the bigger one or
on the on the B twelve one automatically or working
at least also in your head or in proportions also
on the other car, because everything has to have an
realistic approach, Everything has to fit together also in this
long term strategy, so proportions are crucial.
Speaker 4 (26:11):
Right in the beginning.
Speaker 1 (26:13):
Does that mean that it could be possible that you
have a car in mind that you really want to
see created, but the company or the parent group isn't
ready for that particular design at that moment. But maybe
ten years later you still have that car in your head,
and ten years later, all of a sudden, now it
(26:35):
feels right like the right time.
Speaker 3 (26:37):
Every idea has his moment, I would say, for sure.
You know, in the designer's creative mind, there there space
for a lot of executions, for a lot of visions,
for sure. So I mean, on one hand, we have
the things that we have to finish now, like the
(26:59):
products that we need to reach the market very soon.
And then of course constantly, you know, you get inspirations
any day and then you think like what about this
type of Lamborghini or what about if we leave away
the roof on that idea?
Speaker 4 (27:19):
So you have constantly the things. But therefore we have.
Speaker 3 (27:24):
A department, or we have the designers also in house
where we are doing design strategy, where we're doing advanced design,
where we are testing the things, because you know, as
a design director, I need to also enable parts of
the team to deal with that future.
Speaker 4 (27:42):
So because in my.
Speaker 3 (27:44):
Daily surrounding, for sure, everyone, I mean, I'm surrounded by
creative people. I'm surrounded by experts and everyone is an
expert in his field, but most of them there living
today and they can maybe imagine what is happening next year.
(28:04):
As a designer, you can, of course, you have a
stomach feeling what could be necessary in five years and
ten years, and therefore I need always to create the
space that we are able to think about those opportunities.
Speaker 1 (28:18):
I asked you this earlier, but I'd love to revisit
it for the podcast. What era of motorsport are we
in right now? How would you describe it from your
vantage point?
Speaker 4 (28:29):
Yeah, I mean I can.
Speaker 3 (28:32):
I can look in back to the seventies, so I mean,
I'm born seventy four. But in the seventies there were
there was one Ferrari and one Porsche and yeah slowly
in the Kundach not very many.
Speaker 4 (28:45):
Yeah, three cars at the end of the day.
Speaker 3 (28:48):
Forgive me if I forgot someone else's favorite supersports car.
Then in the eighties, I remember there was the Ferrari forty,
there was the Gundach, the Porsche nine five nine, so
and that kept on going because they're there there, There
have been always this, There was always one car that
made this big impact.
Speaker 4 (29:10):
So today, uh, we are living in the world.
Speaker 3 (29:13):
You go to Goodwood, or you go to Pebble Beach
to the Monterey Car Week.
Speaker 4 (29:18):
So in special moments in the year.
Speaker 3 (29:21):
You you are flooded a little bit with super sports
cars here. So today this is a big, a big
market where a lot of players are playing. In our case, Lamborghini.
I'm quite happy and this here, I'm very aware to
maintain this. You can have the parking lot full of
(29:41):
super sports cars, but if you put a Lamborghini in
the center, you will always recognize a Lamborghini because we
have that recognizable design DNA. And that's why, like a
policeman too, you know, we need to keep this this
recognizable shape of a Lamborghini so big use that makes
us standing out.
Speaker 4 (30:01):
So we are living in this moment and.
Speaker 3 (30:03):
See what is happening in the in the next ten years.
I'm sure this will at the moment will continue, but
maybe in the future we will see a little bit
more a clearer DNA also of some of the new
brands that are now entering the place.
Speaker 4 (30:21):
But I'm I'm a big fan of a.
Speaker 3 (30:24):
Clear identity, of a clear design DNA, of a clear
recognizability of your product.
Speaker 1 (30:30):
Yeah, that's interesting because it seems like Lamborghini really hit
the mark with the RS SUV. I mean that you
look at it and you know it's a Lamborghini even
though it's not a sports car. How were you surprised
that that has done so well? And was that a
challenge to figure out a way to translate the Lamborghini
(30:53):
DNA into something that is an suv.
Speaker 3 (30:59):
Is a wonderful full example that you know for sure
there was an incredible team works in terms of in
every component, the design, the technology that you know, the
way the car is behaving, the way that the DNA
of Euros is really a hit. So everyone that was
(31:20):
that worked on that car, everyone that decided for this
car made something really really right for sure. But for sure,
you know, the number one hit you cannot plan. I
think the number one hit has also to happen. And
again we were everyone was was doing his best to
(31:41):
do to create the Euros.
Speaker 4 (31:42):
And now over all these years we have this constant
success of this car.
Speaker 3 (31:48):
So it's a it's a it's a number one hit,
but already now since several.
Speaker 4 (31:52):
Years we're talking about it is a bit like that.
Speaker 3 (31:56):
But I guess every artist that had the number one
hit will not be able to tell why is it
the number one that it happened. So but again you
can work hard for for such a success for us
as it's a gift, another gift, because I mean still
we as a Lamborghini board or myself as a designer,
(32:17):
we travel a lot. We arrive in Japan, we arrive
in la we arrive in New York, wherever on the
planet we will. We will drive around with an Uros
and it's still turning heads. It's it's about the proportion.
Here's also one car that slowly becomes an icon. So
you cannot design an icon. I cannot sit down and
(32:38):
say now I'm creating an icon now. But the Uros
became an icon over time because of the proportions, because
of the right design decisions, and also because we are
now doing the right.
Speaker 4 (32:51):
Product steps, you know, starting.
Speaker 3 (32:54):
With us and as performance, so we are playing also
here I think the right rhythm strategyeah and strategy.
Speaker 1 (33:02):
Okay, So finally I just want to talk about your
own your own story really and and how you would
advise people who want to be where you are one day.
You know, if you were starting out now in this world,
do you think you would still be a car designer,
would you be something else?
Speaker 4 (33:23):
I guess, first of all, this is a question no
one can tell.
Speaker 3 (33:26):
I mean, I look, I have a personal I mean,
my story is very simple. I'm born in seventy four.
I'm born in East Germany. Maybe today it's forgotten that
Germany was split it on one time into the western
part and the eastern part, the Communist part.
Speaker 4 (33:47):
I didn't have, you know.
Speaker 3 (33:50):
Especially in the US, there are a lot of Johnt's
saying I used to have.
Speaker 4 (33:53):
This poot touch posted on my bedroom board. I didn't
have this.
Speaker 3 (33:56):
So I was growing up with all these Eastern cars, buns,
wat bog ladders, all these type of cars. I didn't
know about the Porsche. I didn't know about Ferrari, didn't
know about Lamborghini. So I discovered this very late. But
I wanted to be a designer. So I was five
six seven years old. My daddy collected all my sketched
(34:17):
of the of that time, so I sketched motorcycles.
Speaker 4 (34:20):
I don't know why I loved airplanes.
Speaker 3 (34:23):
There wasn't There wasn't Russian air base very close by,
so I remember every day.
Speaker 4 (34:28):
Was Meek flying over our town.
Speaker 3 (34:30):
Or I remember hearing them when they break the muck one,
you know, and so but I was so, I was
impressed by these things.
Speaker 4 (34:41):
Later on, in eighty eight eighty nine, I went with
my brother to hung Hungry.
Speaker 3 (34:48):
Hungry was more more liberal country in the Eastern Bloc
where also Western tourists were having holiday in Hungary. So
there was the moment where I've seen for the first time.
Also the motorcycles. I remember very well the motorcycles, all
(35:08):
the Kawasakis, Suzuki's Hondas, a little.
Speaker 4 (35:11):
Less to Ducats, I have to say.
Speaker 3 (35:12):
But and I remember the sound of those motorcycles, and
I knew that. I said I want such a I
need such a motorcycle one day. But in the end
of the day the wall came down in East Germany.
But then also after that, I remember sometimes the classmates
(35:33):
were saying, ah, but you want to be designer. Do
you think that people wait for you? That was even
more motivating me, I have to say. So I sketched,
I developed my own car brand. I informed myself about cars.
I was unstoppable, so I might recommendation. Recommendation would be
to anyone that wants to do not designed, but in
(35:57):
general what it wants to follow his passion. If you
feel it in your heart, just do it. Find out
who you are and be that person. So it's a
it's a it's a long way. In the end of
the day, you don't give up. You will you will,
you will fail, you need to stand up again.
Speaker 4 (36:16):
You will improve. You know I learned over all these
years now until today.
Speaker 3 (36:22):
Every day I'm doing mistake and tomorrow I will do
something better in the end of the day. Believe in yourself.
You need to be for sure disciplinated. You need to
you need to practice. Even if I'm now fifty one
years old, I still like sketching and I don't want
to give up on that, on that skill because you.
Speaker 1 (36:41):
Know, is like, is that an essential skill for someone
who wants to be a car designer today?
Speaker 4 (36:46):
Maybe? Maybe not, but for sure it is helpful.
Speaker 3 (36:50):
Yeah, because you know it's if you if you meet
your boss and and you just take a quicker piece
of paper and you sketch your idea is yeah, you
know you will. You will get your idea through. It's
not so easy maybe to find the next AI computer,
but it is for sure, and it's a beautiful skill
because you can I don't know. For someone that is created,
(37:13):
it is you sit in the airplane, you take menu
card and you sketch on top of that. So it's
I would wouldn't miss it. It's sketching is like breathing
lungs into the into It's like breathing air into the
lungs of a designer. So in my opinion, yes, but
also for card designer, I'm trying to teach my, my, my,
(37:34):
my team the taping, so it is a very manual
process as well. So of course it's very digital now
a lot of tools, incredible tools today that you can use,
you can I mean also the design process. Yeah, how
much is developed over the last twenty years.
Speaker 4 (37:53):
And if I just now.
Speaker 3 (37:54):
Imagine with the revolution now it's revolution time with AI. Now,
I would not even say the next twenty years. I'm
saying in the next two to five years, there will
be also a big, big, big change with the AI
influencing creativity.
Speaker 4 (38:12):
So I have to ask you.
Speaker 1 (38:13):
I know, I said that was my last question, But
now that we're on AI, is that a good influence
on creativity or does it have the potential to flatten
human creativity?
Speaker 3 (38:24):
No, I think it's a tool you need to mastery.
Of course, you know it will be the revolution I
think for the entire human being, because in the end
of the day we can maybe decide if we will
have terminator, a terminator future, or another more positive future.
In the end of the day, it is, as always
(38:48):
is an opportunity that needs to be used in.
Speaker 4 (38:52):
A senseful and positive way.
Speaker 3 (38:54):
Of course, you can be always scared, because the human
kind is of course having so sometimes.
Speaker 4 (39:00):
Very very very mean ideas.
Speaker 3 (39:03):
But in terms of creativity, it is it's so fantastic
because you can, I mean already we are using it
in our design team. You can you can bring things alive.
You have your clay model that is just in one
brown color, you take a photo, put it in the system,
(39:23):
and you will have i don't know immediately like like
a press image that you can then modify yourself and photoshop.
Speaker 4 (39:31):
And this is just one little part of this creativity.
So it is for.
Speaker 3 (39:37):
Everyone, for the designer, for engineers, for for it's it's
an unstoppable revolution.
Speaker 4 (39:43):
Everyone needs to deal with media worker. Thank you so much, appreciate,
thank you.
Speaker 1 (39:49):
Okay, so there you have it. You it was it
was good. You were really missed Matt, and I know
that you've been gallivanting around Italy.
Speaker 2 (40:00):
Yes, I was in. I was just south of Sienna
for a week with my family and we had a
fantastic time. We saw Palio, like a mini Palio because
the we were too late for the Sienna for the
main one. But it was very cool and we ate
a ton of delicious food. And then I sort of
(40:22):
sent my wife and kids to Spain. She's from there.
Speaker 1 (40:26):
Oh that's the relevant information to.
Speaker 2 (40:29):
Visit her family, but I can't take off as much
time as she can, or rather she.
Speaker 1 (40:33):
Are they still there now?
Speaker 2 (40:34):
They're still there because her company also has an office
in Valencia. She continues to work there. And then the
grandma lost his the kids. But anyway, yeah, it was
great fun. I saw some really cool cars. Oh, I
had the worst experience actually driving a BMW I X.
(40:55):
So we get to Rome and I had rented an
Audi A six and Electric A six.
Speaker 1 (41:02):
You were thinking station wagon and they pushed you into
the IX.
Speaker 2 (41:05):
They said it's not fully charged. So first they wanted
me to drive the I five, but it was like
the I five E forty, so it was like the
lower battery version, and I said no, no, no, no, So
they said, okay, we have an IX, which I've driven
in the past here a couple of times and had
a great experience with. However, at that time when I
(41:30):
was driving it here, I was charging it at my
house at night, and I wasn't worried about recharging anywhere.
When you're on vacation and you're staying in a place
that doesn't have a charger, it's a completely different story,
especially in rural Tuscan, right. So we were constantly out
of charge, and like we'd drive into these small towns
to have dinner and I'd find a little charger that
(41:52):
was charging at like eleven kilo lot hours, you know,
and you know, by the time we were done with dinner,
we'd gained like forty miles. So it was like range
anxiety the whole time. And then, to make matters worse,
on the last day, I took it to a supercharger
before we drove back to Rome, filled it all the
way up to I think three hundred and fifty miles
(42:15):
and our trip to Rome was only two hundred miles,
so I felt it would be fine.
Speaker 1 (42:20):
Math I can do the math exactly.
Speaker 2 (42:22):
Yeah, So we're on the Highway, and I'm seeing like, Okay,
now we've got one hundred and fifty miles left to Rome,
and but we've only got two hundred miles of range.
All of a sudden, we've driven fifty miles and we've
used one hundred fifty miles of the rain.
Speaker 1 (42:35):
I mean, the miles don't correlate to actual miles.
Speaker 2 (42:38):
It was just like exponentially dropping. It was I'm insane.
So not only was I nervous that I wasn't gonna
make it, and I'm like trying to get my kids
and my wife on a connecting flight right, So yes,
there was something at stake, But also I was angry
at the carner for like, you know, sandbagging me, basically
(42:59):
telling me I had three fifties, so I thought I'd
have one fifty to spare. By the time we got
to the airport, I had seven kilometers of rangels.
Speaker 1 (43:08):
I would have had an ulcer.
Speaker 2 (43:09):
It was insane and I will never rent an electric
vehicle again, no wonder. You know, the fleet car companies
with fleets of evs don't do well. It's just a
horrible vehicle to rent unless you're willing to do like
all of the leg work and constantly calculate where you're
(43:32):
going to find a charge not fine, how long you
have to charge it. No, it's not a cool thing
to do on vacation.
Speaker 1 (43:37):
So it's not charming in Italy to be desperately searching
for a charger.
Speaker 2 (43:43):
And my my friends, we were there with another family.
They had an X five diesel and I was so
jealous because like A like a it's a better looking
car by far, you know, and they've got diesel power,
(44:03):
so they were they never had range anxiety. They are
like fill it up once and then drive it around.
Speaker 1 (44:07):
For two weeks, you know, so insult to injury.
Speaker 2 (44:10):
Yeah I made I made a bad decision, basically live
and learn.
Speaker 1 (44:14):
So man, well you made it back.
Speaker 2 (44:16):
Never never did that again, No did. But it was
nice to be in Italy.
Speaker 1 (44:20):
Italy is always nice.
Speaker 2 (44:22):
And there were some really cool cars. I noticed, you know,
there were so many Fiat pandas.
Speaker 1 (44:28):
Like old ones, the insigable old.
Speaker 2 (44:30):
Old you know, from the at least eighties or nineties.
And I remember when I was in German university, a
friend of ours had a Fiat Panda and we always
made fun of him because we thought it was literally
the worst car that you could possibly own. But my
wife and I told her that because her mom had
a Fiat Panda as well. She pointed out, like, if
(44:54):
they're really such bad cars, why are there so many
of them still in service? Yes, and it's like the
car if you're living in a Tuscan mountain town.
Speaker 1 (45:04):
Oh, I know, I love it.
Speaker 2 (45:05):
It's got four by four. It kind of looks like
a lot of Yes, I had a friend, what a
great car?
Speaker 1 (45:11):
Any king. You know, there are companies that outsource those
to the US, Like you could pay the company to
do it, because they're, like you say, are so prevalent
over there, and they're kind of great. They're a great size.
And there are companies that ship to the US. Yeah,
and they'll you know, do all the paperwork.
Speaker 2 (45:30):
It makes sense. I mean, they just they must have
hundreds of thousands of kilometers on them by now, the
ones that we saw, and they have four by four,
they're obviously good enough to deal with mountains in the winter.
Speaker 1 (45:40):
What color was your friend's car with?
Speaker 2 (45:43):
My friend's Fiat Panda is white, which made it worse.
Speaker 1 (45:46):
You know, it wasn't like an all of a cool hunter.
Speaker 2 (45:50):
He was like the only guy in our fraternity that
had a car at school back then, so we would
always use it, you know, cringingly. Yeah, kind of like
Cameron's car, you know, and Ferris Bueller's day off, but
not the Ferrari.
Speaker 1 (46:07):
That's so cool.
Speaker 2 (46:08):
Yeah, it was really cool to see all those cars,
and a lot of Suzuki Jimneys too, which are awesome.
Speaker 1 (46:12):
Oh so cool.
Speaker 2 (46:13):
I mean I wish we could get those I now,
especially the most recent ones that look like baby cheese.
Speaker 1 (46:18):
I every now and then I see one driving around
Silver Lake and I'm like, oh, that is so.
Speaker 2 (46:24):
They were seventeen grand when they came out. Wow, it
was like twenty eighteen, twenty nineteen when you started seeing
that new generation and that was a euro price. So
seventeen thousand euros what a cheap.
Speaker 1 (46:39):
Seems like a lot of car for with a stick
like one more do you need?
Speaker 2 (46:43):
I really would love to have one of those anyhow cool?
Speaker 3 (46:48):
Yeah?
Speaker 1 (46:48):
Are you glad you're back?
Speaker 2 (46:50):
I'm glad we're both in the same party. Are you
here for fish? Are you here because of fish at
Forest Hills?
Speaker 1 (46:57):
No, no one has ever said that to me before.
Are you here for fish? No? Are you are you
going to fish.
Speaker 2 (47:04):
Absolutely, When is that tonight?
Speaker 1 (47:07):
Oh my gosh. No, I'm not here for fish. I'm
here for to see you. I'm here to see you.
Speaker 2 (47:12):
It's great to see you.
Speaker 1 (47:13):
I don't need another reason.
Speaker 2 (47:15):
All right, that's all we have for this week. See
you back here, same time, same place next week.
Speaker 1 (47:19):
I'm Att Miller, and I'm Hannah Elliott, and this is Bloomberg.
Hosts And Creators
Hannah Elliott
Matt Miller
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