A Quote by Jean-Baptiste Say
Wherefore it is impossible to succeed in comparing wealth of different eras or different nations. This, in political economy, like squaring the circle in mathematics, is impracticable, for want of a common mean or measure to go by.
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In one era, it's hard enough to compare people. But comparing people of different eras... that's next to impossible.
Ever since third grade, I had a notebook and was putting together words just for fun. I liked different etymologies, different slang that came out in different eras. Different languages. Different dialects.
I tend to use different microphones, different mic techniques, and different recording mediums - like analogue tape - that evoke multiple eras of recorded music at the same time.
I've been lucky to have played a lot of women, over the years, especially in the sci-fi genre. All of them are special to me, in different ways, and I hate comparing them because it's like comparing people. They're different.
Artists have different responsibilities in different eras. But at this point, I really feel like it's all hands on deck. An artist that's fiddle-faddling in opaque, gossamer gestures - I mean it's fine to do that, totally fine, but there's no time left. We don't have the luxury of time anymore.
Today different ethnic groups and different nations come together due to common sense.
When Liv had Milo, that's when it really came full circle to me. I am so proud of her. We are both single mothers but in different eras.
It would seem that if despotism were to be established among the democratic nations of our days, it might assume a different character; it would be more extensive and more mild; it would degrade men without tormenting them. I do not question that, in an age of instruction and equality like our own, sovereigns might more easily succeed in collecting all political power into their own hands and might interfere more habitually and decidedly with the circle of private interests than any sovereign of antiquity could ever do.
I love reading different scripts and helping create different looks, different environments. Sometimes you go to meet a director over a particular script, and they'll say, 'I want you to do this because I want it to look like Shawshank,' and I'm like, 'Well, I'm not that interested in doing that again.'
If you do not know each player individually, one on one, it is impossible to form a team from 22 distinct personalities, different languages, different home countries, but with one common aim.
And I think that’s a lot of the reason why when you start to fragment your audience, you start to think about what you’re looking for, you’ll go to different spaces, and it parallels what we do as adults. You go to different bars when you’re in the mood for different things. You see different people when you want to go listen to music or when you just want to have a quiet drink with a couple of friends.
Does it seem to you impossible to imagine anything more inextricable than the social contract, when you think of the frightful number of relations that it must regulate -- something like squaring the circle, or finding perpetual motion? That is the reason why, wearied of the struggle, you fall back on absolutism and force.
It's always good I think in general to have different energies on screen, like it's nice to have different characters go at different speeds, just like different people work at different speeds.
Individual writers have different postures, different stances, even different physical attitudes as they stand or sit over their blank paper, and in a sense, without doing it, they are crossing themselves; I mean, it's like the habit of Catholics going into water: you cross yourself before you go in.
Different nations have different ways of forming their national identity. In America, for instance, the model was one of homogeneity breaking from different backgrounds, and the whole effort was to blend them all together like a wonderful making of a milkshake!
So I did a program with the Recording Academy, the Grammy Museum. So pretty much they take, like, one hundred kids during the summer and for a week or two every day they go over something different in music history. Then during the music history part of the program, they would just tell us about the different eras.
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