A Quote by Frances Beinecke

We look back at the 1990 Clean Air Act amendments, where people screamed and hollered it's going to be too expensive, they couldn't afford it, and it wouldn't work. And it worked. It worked faster than people expected, at much less cost.
It wouldn't cost too much to change the rules of trade so that poor countries can work their way out of poverty. But the world's leaders won't act unless they hear enough people telling them. And every day they fail to act, thousands of people die because they can't afford the basics of survival.
If you look at the publishers I've worked with, generally, they're a great bunch. Creation is unlike any other publishing house you can think of. The people I've worked with have integrity and intelligence and, almost always, less money than ideas.
The legal fight over climate change begins in the United States with the Clean Air Act Amendments of 1977. Under the Act, the E.P.A. is required to publish a list of 'stationary sources' of air pollution, of which the most important are power plants.
I don't dig ditches for a living, so I don't really hate going to work. I chose this for a reason. I would much prefer to be over-worked than under-worked.
I worked in a steel mill, I worked in a foundry, I worked in a paper mill, I worked in a chemical refinery, construction, I did all that. It was great work, it was good. I learned welding, mechanic, carpentry, but it saved me from going back to prison because that's helpful. It's really sad because those jobs are gone.
The bad news is, I have worked less than I have liked. The good news is, I can look back on my body of work and feel truly proud of the work I have done.
Clean air and clean ocean, you can't translate that into money if you look at the cost to health, cost to fishery industry.
I tend not to look too much back; I tend to look forward. So, I suppose, I know, I've had probably most of my life, and there's less going forwards than there is going back, but I prefer to look in the future.
I worked hard at that through most of the '80s, and in 1990 my house burned in New Hampshire, and my studios and my offices. I had to decide at what level to rebuild, and I decided that I was going to stop trying to be all things to all people, and just go back to playing the guitar.
If you press-mold a pot or if you slab-build a pot, the work has got to take much, much, much longer than if you work on the wheel. And I to this day have the ideal that I want my work to be not too expensive, so that if people buy it and break it, it's not going to be the end of the world. I'm not interested in having things in museums, although some of our work has ended up there, but that's not what I'm striving for.
That's the paradox. Since we can spend as long as we want, we worked so much faster than we used to. I think that when you don't have the pressure anymore, the ideas come faster.
People seem to have acquired the idea that they have the inalienable right to stroll through life without either having sweated, picked up anything heavy, worked hard, or eaten less than they wanted at every meal. This approach is, of course, wrong. And it has resulted in a lot of expensive, unattractive, and entirely preventable problems amongst people who seem puzzled about why things aren't going well.
Nothing stops an organization faster than people who believe that the way you worked yesterday is the best way to work tomorrow.
Practically everybody I've ever worked with, I'd like to work with again. I had a great time with the people that I've worked with, and the directors, and a lot of the casts. There's really nobody where you'd say, "Oh, I got X, Y, and zed again! Gahhh, no!" It really brings a smile to my face, because in 95 percent of the cases, people I've worked with, I'd be thrilled to work with again.
Where people work longest and with least leisure, they buy the fewest goods. No towns were so poor as those of England where the people, from children up, worked fifteen and sixteen hours a day. They were poor because these overworked people soon wore out -- they became less and less valuable as workers. Therefore, they earned less and less and could buy less and less.
I've worked with non-professional actors, I've worked with movie stars, I've worked with kids, I've worked with older people, and I've found my job as a director is to cast them well and to understand what they need on set to bring the material to life.
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