The construction of Europe is an art. It is the art of the possible.
Interpretation
Building Europe requires creativity and practicality, blending ideals with reality.
This quote by Jacques Chirac emphasizes that the process of constructing Europe is not merely a political endeavor, but rather an artistic one that requires creativity, imagination, and an understanding of what is feasible. It highlights the importance of pragmatism and the ability to navigate the complexities of cooperation among diverse nations, making the 'art of the possible' a fundamental aspect of this challenging task.
In practice
During a speech about European unity, one could use this quote to inspire collaboration among nations.
Our house is burning down and we are blind to it. The earth and humankind are in danger and we are all responsible. It is time to open our eyes. Alarms are sounding across all continents. We cannot say we did not know! Climate warming is still reversible. Heavy would be the responsibility of those who refuse to fight it.
The authority and influence of France on the world scene in the 21st century will not depend solely on its modernity and cohesion, nor even on the continuity and professionalism of its foreign policy. France will be heeded if it has a message to convey. Faced with the temptations of laissez-faire, France must stand out as the nation with the imagination and determination to pursue an ambition that combines cogency with generosity.
Poetry takes courage because you have to face things and you try to articulate how you feel.
When you're traveling constantly, every day you become inspired, and it shows in my work, sonically, lyrically, visually. Conversations with women with different accents and stories told in those accents. I like to create characters based on different people I've met, and relationships. I like to tell stories loosely based on real-life events.
The writing of the Beatles, or John and Paul's contribution to the Beatles in the late sixties - had a kind of depth to it, a more mature, more intellectual approach. We were different people, we were older. We knew each other in all kinds of different ways than when we wrote together as teenagers and in our older twenties.
And I saw the sax line-up that he had behind him and I thought, I'm going to learn the saxophone. When I grow up, I'm going to play in his band. So I sort of persuaded my dad to get me a kind of a plastic saxophone on the hire purchase plan.
Never try to make the same record twice, even when people are screaming for the same sound.
The challenge of screenwriting is to say much in little and then take half of that little out and still preserve an effect of leisure and natural movement
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