A Quote by Esme Raji Codell
If you give people an idea these days, they just think you are sharing it with them so they can critique it, play devil's advocate, and so on. It doesn't occur to them that they might help or get enthused or at least have the courtesy to get out of your way.
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Somewhere along the way, the idea, which I think was initially to get some fair transaction between people, went out the window. And what came in was, the most you can get and the least you can give. That's why cars are the way they are nowadays. It's just an erosion of all the things that were true and right about the original idea.
As a children's author, you get to advocate for reading and writing in general, in a way an adult author might not be able to. It's a really interesting dance we do to get literature into the hands of young people and to help them to become literate and become readers; we want them to grow up reading and continue to do so when they're adults.
Usually, I think it's best to play the song for them once and have them mix it up on the spot, because when the logical mind gets too involved, I think it kills a lot of magic. I just think the subconscious mind is so much smarter, and unfortunately, people do not trust their subconscious. A lot of people just don't access to all of that, the secret genius that's inside of them. And it's so much easier to get it out of a musician if you don't give them a chance to overthink.
I want to be able to help out and give back to people and give them something nice to be able to train at and get a chance to get a head start on things. And just continue to push out my brother's story while I reach out to kids.
If you give orders and explain nothing, you might get obedience, but you'll get no creativity. If you tell them your purpose, then when your original plan is shown to be faulty, they'll find another way to achieve your goal. Explaining to your men doesn't weaken their respect for you, it proves your respect for them.
That's one of those hazards of an interview: You get tired of your stock answer and you try to get creative and even play devil's advocate.
I think more of the little kids from a school in a little village in Niger who get teaching two hours a day, sharing one chair for three of them, and who are very keen to get an education. I have them in my mind all the time. Because I think they need even more help than the people in Athens.
Many people came out and said, 'Boy I'd love to make a film that way.' Well, borrow some money, get some people together - you can get people to work for nothing, just treat them right, treat them as human beings, not stars, give them all an equal share, make them feel a part of what they're doing. There's no big secret to it.
I think, as an artist, the overall goal is to teach and educate no matter what the song is about. Somewhere where a listener can get something out of it, something that can give them help to move forward, help them learn something, analyze something in a different way, or think about something.
The people who need help, run and get help. They don't remember where they get the help. If the devil wants to reach the top, then the devil trying to use God to reach the top. 'Cause the devil have no creation. The devil can't copy.
If you invent two or three people and turn them loose in your manuscript, something is bound to happen to them -- you can't help it; and then it will take you the rest of the book to get them out of the natural consequences of that occurrence, and so first thing you know, there's your book all finished up and never cost you an idea.
There are players like that - you know they have been rascals, and that you can bring them in, give them a new environment and get a length of time out of them, but they will always return to type. You can get something out of them, then you have to get rid of them.
That's what's beautiful about sports in general is you give someone a bat, a ball, a piece of sporting equipment and what it does to help them just be better people, 'to get out of whatever situation they might be in temporarily for that moment, to be whoever they want to be.
Every year, I speak to our new associates and give them this advice, although in my own words. 'This isn't like school,' I tell them, 'where you want to get your hand in the air and give an answer quickly. The only grade here is 100. Deadlines are important, but at Blackstone you can always get help in meeting them.'
People are flawed. I like peaking into their flaws. The way to humanize them is not to play them in any general way, but to make them very specific. If you make them specific, they have hopes and dreams and loves and vulnerabilities and quirks and you get to know them and you get to appreciate them.
Your performance depends on your people. Select the best, train them and back them. When errors occur, give sharper guidance. If errors persist or if the fit feels wrong, help them move on. The country cannot afford amateur hour in the White House.
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