A Quote by Mike Myers

When you're writing these things, you're in a room making each other laugh, you really have very little sense of political correctness or incorrectness. This is a question that Europe tends to ask and America doesn't.
I would not describe myself as a political writer except in the sense that the personal is political, which is something that I do strongly believe. And in that sense American Gods is a very personal novel and a political novel. I was trying to describe the experience of coming to America as an immigrant, the experience of watching the way that America tends to eat other cultures.
Why are there beings at all instead of nothing? That is the question. Presumably it is not arbitrary question, "Why are there beings at all instead of nothing"- this is obviously the first of all questions. Of course it is not the first question in the chronological sense [...] And yet, we are each touched once, maybe even every now and then, by the concealed power of this question, without properly grasping what is happening to us. In great despair, for example, when all weight tends to dwindle away from things and the sense of things grows dark, the question looms.
Friends don't have to have a lot of things in common. But there's one thing friends usually do have in common - a sense of humor. That doesn't mean they find all the same things funny. Sometimes, they might even laugh at each other. But at the end of the day, friends can always laugh with each other.
I love writing with Colbie [Caillat]. We have something very magical together that's difficult to describe. We're very comfortable with each other, and that's really important for co-writing. I think both of us bring different things to each song.
Look, the United States doesn't have political parties. In other countries, take say Europe, you can be an active member of the political party. Here, the only thing in a political party is gearing to elections, not the other things you do. So it's basically, a way of making people passive, submissive objects.
When I go to Europe or South America, they laugh at things that are totally different than what Americans would laugh at. It's just so crazy how we're so different in personalities with other people.
Political correctness gets in the way of all too many things in this country of ours, I am not a subscriber of political correctness by any means, shape or form.
The only way that you can keep moving forward, finding other ways of expressing things about this increasingly complicated world that we live in, is by listening and observing not only to life around you but to the other people who are in the room. It's not about a sort of, you know, a sense that you have to be democratic about these things, it's a question of creativity that the process of making theatre is a collaborative process, and it is not in, it is not a question of, you know, I have no interest in paying lip service to it, for me it's absolutely fundamental.
Europe isn't something connected by the Euro. Every little dimension of Europe is so hugely different, and I think America is different in its states as well, so I never really think of things in big blocks, in terms of other artists.
When I started making music, I made music in a very commercial space and I didn't have room to really explore things on my own terms. It took me awhile to create a little bubble where I could explore other things, and new things. When I did that, my tools were songwriting and arranging.
Relative to the power that movie stars have, and producers and directors, I would say that even the most respected screenwriters have very little power in Hollywood. I don't think it's in the nature of the writer's profession to go after that power. Writers spend their time alone, hallucinating, writing, making these things up, while these other people are out schmoozing, making connections, meeting each other. They are trotting the corridors of power and making sure they've put their own imprints in it. And they're promoting themselves and their images, as they should.
People expect us to be different, but we're not. We're very similar people, and it's because we're so similar and close to each other that we make each other laugh - in fact we make each other laugh more than we make anyone else laugh.
As you get drawn more and more into other activities, like political activities, very demanding, you have to find different rhythms of writing; I think that's the word I'm looking for, rhythms of creativity which then, of course, become very intense. I think your writing then tends to be very intensified simply because there are other demands which seem equally important.
The superpowers often behave like two heavily armed blind men feeling their way around a room, each believing himself in mortal peril from the other, whom he assumes to have perfect vision. Each side should know that frequently uncertainty, compromise, and incoherence are the essence of policymaking. Yet each tends to ascribe to the other a consistency, foresight, and coherence that its own experience belies. Of course, over time, even two armed blind men can do enormous damage to each other, not to speak of the room.
And one day we must ask the question, "Why are there forty million poor people in America?" And when you begin to ask that question, you are raising questions about the economic system, about a broader distribution of wealth. When you ask that question, you begin to question the capitalistic economy.
The angels laugh at old Karl. They laugh at him because he tries to grasp the truth about God in a book of Dogmatics. They laugh at the fact that volume follows volume, and each is thicker than the previous ones. As they laugh, they say to one another, ‘Look! Here he comes now with his little pushcart full of volumes of the Dogmatics!’—and they laugh about the persons who write so much about Karl Barth instead of writing about the things he is trying to write about. Truly, the angels laugh.
This site uses cookies to ensure you get the best experience. More info...
Got it!