Take control of who you report to, what you do, what you create. Or start a business on the side. Deliver some value, any value, to anybody, to somebody, and watch that value compound into a career.
What will happen is the bills will start out the way we like them; in order to move them - we'll probably have to make compromises. That's the way the legislative process works when it's functioning.
The minute you start compromising for the sake of massaging somebody's ego, that's it, game over.
I have no conceit as a writer; in fact, I find it very difficult to start writing about sculpture generally & my aims in particular.
Conductors start getting good when everybody else retires.
If we want the banks to lend - and we all do - if we want the economy to expand - and we all do - do you really want to start confining the banks in their ability to make profits in order to generate more capital to lend out to the people?
In Europe, we would congratulate anyone who is successful. But congratulations stop if we find that you start to misuse a dominant position.
'Moderate Republican' is simply how the blabocracy flatters Republicans who vote with the Democrats. If it weren't so conspicuous, the 'New York Times' would start referring to 'nice Republicans' and 'mean Republicans'
When you start to realise how much of what you've constructed of yourself is based on deception and lies, that is a horrifying realisation.
For some reason, lots of terrible things start here and then spread. The Cold War was one. It didn't start in Berlin - it started in Athens in December 1944; the contagion in the eurozone started here in 2010. We are perfectly capable as Europeans of messing things up unnecessarily.
I got a regret: That I started acting so late. I was 27, and guys who start at 18 or so, there's this kinda continuity of friendships they form in the profession by startin' young, I've never had that.
When there's a revolution in Egypt, you can't really get depressed about not knowing what happens after you die. When there are millions out on the streets, that's not the time to start panicking about contracting swine flu.
The pressure is always stepping on stage with actors who are just so well-established. It's a scary thing. I haven't been around the block that many times, especially not on big projects. Dialogue makes things easier. When you start bouncing dialogue off of other actors, it becomes comfortable; it becomes conversational.
When I start writing, I'll have a vague concept or I'll just have a title, and the song just goes on its own direction. Usually it goes in many directions within each song. They get really convoluted sometimes.
Some players like to practise right up to the start of play. But for me, whatever warming up I did was only going to be followed by cooling down again.
We need to start looking at having a way of managing the whole ecosystem, because you can't pick away at it piece by piece, you have to truly start being coordinated and managing our resources as a system. We haven't gotten to that point yet.
I don't think I ever modeled myself after a singer. I've more or less copied the styles of horn-tooters right from the start.
There are people who are genetically made to start record labels, and I'm not one of those people. People just have it in their blood and are good at it. Corey Rusk from Touch and Go and Ian MacKaye. These are people who have made their own labels.
I would sit on the street corners in my hometown of Indianola, Mississippi, and I would play. And, generally, I would start playing gospel songs.
But part of the enjoyment I take in it is finding the most efficient way to do it, which doesn't mean the corrections aren't made. I like to have a feeling of the whole task before I start, even if it changes.
