A Quote by William J. Mitchell
American cities are kind of difficult contexts to work in. They are politically complex. There are a lot of different interest groups. It takes immense political skill to get anything done at all.
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I see nothing easy in Washington. I see either analytically simple things that are politically complex or those that are politically complex and analytically complex. I mean, look at immigration reform, you know? It is, I think, analytically easy, but politically very, very complex and very difficult.
In different countries the basis of resistance takes different forms, but it comes chiefly from the conservative groups. Hence it becomes increasingly difficult to go on spending in the presence of persisting deficits and rising debt. Some form of spending must be found that will command the support of the conservative groups. Political leaders, embarrassed by their subsidies to the poor, soon learned that one of the easiest ways to spend money is on military establishments and armaments, because it commands the support of the groups most opposed to spending.
Nearly every taping or audition has to be in an American accent, so you don't have a choice; you just have to get good at it. I'm sure you can appreciate accents - it's like learning any skill, you have to work at it and work at it and it takes an awful lot of time, until it's muscle memory and you don't have to think about it anymore.
When we deal with cities we are dealing with life at its most complex and intense. Because this is so, there is a basic esthetic limitation on what can be done with cities: a city cannot be a work of art.
I speak for a lot of church groups, youth groups, schools, colleges and do personal appearances. I've done conventions and trade shows. A lot of different little hats.
The rise of a new kind of political science in the 1960s has been driving a wedge between political insiders and voters ever since. By turning voters into interest groups, it stopped establishment leaders from articulating a national narrative. It opened the way for Movement Conservatives to create today's political crisis.
It takes courage to set priorities because doing so is an admission that American policy cannot be all things to all people - or rather to all interest groups
When we deal with cities we are dealing with life at its most complex and intense. Planners are guided by principles derived from the behaviour and appearance of suburbs, tuberculosis sanatoria, fairs and imaginary dream cities - from anything but cities themselves.
Art should take what is complex and render it simply. It takes a lot of skill, human understanding, stamina, courage, energy, and heart to do that.
I find putting oneself out there difficult. I think writing and sharing writing require different skill sets. I want to be read, but it takes courage to ask someone to read your work.
I basically get stereotyped a lot in terms of being a girl and writing 'chick' music for teenage girls or something. I think, if anything, the press kind of, because of my gender and my age, tends to kind of relegate my work to this sort of special-interest group. It's part of the cultural dynamic, I guess.
That's just like America. It's made up of lots of different people. We're all different colors, different ages, we do different jobs -- but it takes all of us black people, white people, brown people, men and women, young and old, working in the factories, working in the fields, working in offices, working in stores -- it takes a lot of different kinds of people to get the job done for America.
So, they have the same vibe of like that fun kind of spirit, but this one's a lot more serious. It's like, get it done, get it done right, you know? It's got to be perfect. We definitely do lots of takes on this.
So different groups have different definitions, and then they clash on those. So it takes adept leadership to say we're going to work through these.
I really don't have a lot of interest in national politics, and it's because I'm a skeptic. I think you can accomplish a lot more locally. I don't want to spin the wheels and not get anything done.
Writing is the great skill, the creative skill. The acting is more an interpretative skill. And the thrill for me is the moment when I think of something. And then the challenge is how to get that funny idea to work in terms of the structure and that kind of thing, which is - and that's what I really love doing.
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