Budget Inspirational Quotes

A novelist is similar to a triathlete. Train hard every day. You will be timed and measured. Budget to promote, grow, and be without fear.

See money – currency - as the flow of energy and giving that cycles between you, others and me. Now let it flow kindly, fairly and mindfully.

Management is a set of processes that can keep a complicated system of people and technology running smoothly. The most important aspects of management include planning, budgeting, organizing, staffing, controlling, and problem solving. Leadership is a set of processes that creates organizations in the first place or adapts them to significantly changing circumstances. Leadership defines what the future should look like, aligns people with that vision, and inspires them to make it happen despite the obstacles

A personal budget is a manifestation of your decision to grab your finances by the balls

As parents we carry the blueprints, the dreams of what our family could be. The plans change, the whole thing goes way over budget, there are unexpected additions, and the work never ends. Still, through the messiness of construction we see each other with such depth and hope. Our five year-old boy is still so clearly the baby he once was and sometimes—can you see it?—the young man he will one day be. We draw energy and inspiration from our dreams; our simple, common motivations. --SIMPLICITY PARENTING

Sometimes you have to set aside the budget and do something absolutely extravagant, something your head tells you you can't afford and your heart tells you you can't do without. Mother said the ability to know when it was right to do such things was wisdom, and more than once she told us that the inner personal freedom to do something absolutely extravagant is the closest human beings ever come to understanding what God must feel when He is being gracious. This was especially so in the giving of gifts.

dumb cunts vote for whoever throws the biggest promotional budget at them

Happiness comes by doing difficult things.

Frequently, the people in charge of the Beast are the most organized people in the company—people wired to make things happen on track and on budget, as their bosses expect them to do. When those people and their interests become too powerful—when there is not sufficient push-back to protect new ideas—things go wrong. The Beast takes over.

It is the nature of a nine-year-old mind to believe that each extreme experience signifies a lasting change in the quality of life henceforth. A bad day raises the expectation of a long chain of grim days through dismal decades, and a day of joy inspires an almost giddy certainty that the years thereafter will be marked by endless blessings. In fact, time teaches us that the musical score of life oscillates between that of Psycho and that of The Sound of Music, with by far the greatest number of our days lived to the strains of an innocuous and modestly budgeted picture, sometimes a romance sometimes a like comedy sometimes a little art film of puzzling purpose and elusive meeting. Yet I've known adults who live forever in that odd conviction of nine-year-olds. Because I am an optimist and always have been, the expectation of continued joy comes more easily to me than pessimism, which was especially true during that period of my childhood.

Brad Bird remembers a meeting during the making of The Incredibles, soon after he joined the studio, when Steve hurt his feelings by saying that some of the Incredibles artwork looked "kind of Saturday morning"––a reference to the low-budget cartoons that Hanna-Barbera and others produced. "In my world, that's kind of like saying, 'Your mama sleeps around,'" Brad recalls. "I was seething. When the meeting ended, I went over to Andrew and said, 'Man, Steve just said something that really pissed me off.' And Andrew, without even asking what it was, said, 'Only one thing?'" Brad came to understand that Steve was speaking not as a critic but as the ultimate advocate. Too often, animated superheroes had been made on the cheap and looked that way, too––on that Steve and Brad could agree. The Incredibles, he was implying, had to reach higher.

WHY PARADIGMS MATTER Ideas drive results. People's beliefs drive their actions. Actions that stem from a simple, complete and accurate paradigm result in personal fulfillment, harmonious relationships, and economic prosperity. Actions based on false, incomplete and inaccurate paradigms, however well intended or passionately defended, are the cause of widespread misery, suffering and deprivation. As detailed in Rethinking Survival: Getting to the Positive Paradigm of Change, a fatal information deficit explains the worldwide leadership deficit and related budget deficits. In a dangerous world where psychological and economic warfare compete with religious extremism and terrorism to undo thousands of years of incremental human progress, a healing balance is urgently needed. Restoring a simple, complete and accurate paradigm of leadership and relationships now could make the difference between human survival on the one hand, and the extinction of the human race (or the end of civilization as we know it), on the other. p. 7.

It is a painful irony that silent movies were driven out of existence just as they were reaching a kind of glorious summit of creativity and imagination, so that some of the best silent movies were also some of the last ones. Of no film was that more true than Wings, which opened on August 12 at the Criterion Theatre in New York, with a dedication to Charles Lindbergh. The film was the conception of John Monk Saunders, a bright young man from Minnesota who was also a Rhodes scholar, a gifted writer, a handsome philanderer, and a drinker, not necessarily in that order. In the early 1920s, Saunders met and became friends with the film producer Jesse Lasky and Lasky’s wife, Bessie. Saunders was an uncommonly charming fellow, and he persuaded Lasky to buy a half-finished novel he had written about aerial combat in the First World War. Fired with excitement, Lasky gave Saunders a record $39,000 for the idea and put him to work on a script. Had Lasky known that Saunders was sleeping with his wife, he might not have been quite so generous. Lasky’s choice for director was unexpected but inspired. William Wellman was thirty years old and had no experience of making big movies—and at $2 million Wings was the biggest movie Paramount had ever undertaken. At a time when top-rank directors like Ernst Lubitsch were paid $175,000 a picture, Wellman was given a salary of $250 a week. But he had one advantage over every other director in Hollywood: he was a World War I flying ace and intimately understood the beauty and enchantment of flight as well as the fearful mayhem of aerial combat. No other filmmaker has ever used technical proficiency to better advantage. Wellman had had a busy life already. Born into a well-to-do family in Brookline, Massachusetts, he had been a high school dropout, a professional ice hockey player, a volunteer in the French Foreign Legion, and a member of the celebrated Lafayette Escadrille flying squad. Both France and the United States had decorated him for gallantry. After the war he became friends with Douglas Fairbanks, who got him a job at the Goldwyn studios as an actor. Wellman hated acting and switched to directing. He became what was known as a contract director, churning out low-budget westerns and other B movies. Always temperamental, he was frequently fired from jobs, once for slapping an actress. He was a startling choice to be put in charge of such a challenging epic. To the astonishment of everyone, he now made one of the most intelligent, moving, and thrilling pictures ever made. Nothing was faked. Whatever the pilot saw in real life the audiences saw on the screen. When clouds or exploding dirigibles were seen outside airplane windows they were real objects filmed in real time. Wellman mounted cameras inside the cockpits looking out, so that the audiences had the sensation of sitting at the pilots’ shoulders, and outside the cockpit looking in, allowing close-up views of the pilots’ reactions. Richard Arlen and Buddy Rogers, the two male stars of the picture, had to be their own cameramen, activating cameras with a remote-control button.

It was 1996, and the word “appropriation” never occurred to either of them. They were drawn to these references because they loved them, and they found them inspiring. They weren’t trying to steal from another culture, though that is probably what they did. Consider Mazer in a 2017 interview with Kotaku, celebrating the twentieth-anniversary Nintendo Switch port of the original Ichigo: kotaku: It is said that the original Ichigo is one of the most graphically beautiful low-budget games ever made, but its critics also accuse it of appropriation. How do you respond to that? mazer: I do not respond to that. kotaku: Okay…But would you make the same game if you were making it now? mazer: No, because I am a different person than I was then. kotaku: In terms of its obvious Japanese references, I mean. Ichigo looks like a character Yoshitomo Nara could have painted. The world design looks like Hokusai, except for the Undead level, which looks like Murakami. The soundtrack sounds like Toshiro Mayuzumi… mazer: I won’t apologize for the game Sadie and I made. [Long pause.] We had many references—Dickens, Shakespeare, Homer, the Bible, Philip Glass, Chuck Close, Escher. [Another long pause.] And what is the alternative to appropriation? kotaku: I don’t know. mazer: The alternative to appropriation is a world in which artists only reference their own cultures. kotaku: That’s an oversimplification of the issue. mazer: The alternative to appropriation is a world where white European people make art about white European people, with only white European references in it. Swap African or Asian or Latin or whatever culture you want for European. A world where everyone is blind and deaf to any culture or experience that is not their own. I hate that world, don’t you? I’m terrified of that world, and I don’t want to live in that world, and as a mixed-race person, I literally don’t exist in it. My dad, who I barely knew, was Jewish. My mom was an American-born Korean. I was raised by Korean immigrant grandparents in Koreatown, Los Angeles. And as any mixed-race person will tell you—to be half of two things is to be whole of nothing. And, by the way, I don’t own or have a particularly rich understanding of the references of Jewishness or Koreanness because I happen to be those things. But if Ichigo had been fucking Korean, it wouldn’t be a problem for you, I guess?

The key to preventing this is balance. I see the give and take between different constituencies in a business as central to its success. So when I talk about taming the Beast, what I really mean is that keeping its needs balanced with the needs of other, more creative facets of your company will make you stronger. Let me give you an example of what I mean, drawn from the business I know best. In animation, we have many constituencies: story, art, budget, technology, finance, production, marketing, and consumer products. The people within each constituency have priorities that are important—and often opposing. The writer and director want to tell the most affecting story possible; the production designer wants the film to look beautiful; the technical directors want flawless effects; finance wants to keep the budgets within limits; marketing wants a hook that is easily sold to potential viewers; the consumer products people want appealing characters to turn into plush toys and to plaster on lunchboxes and T-shirts; the production managers try to keep everyone happy—and to keep the whole enterprise from spiraling out of control. And so on. Each group is focused on its own needs, which means that no one has a clear view of how their decisions impact other groups; each group is under pressure to perform well, which means achieving stated goals. Particularly in the early months of a project, these goals—which are subgoals, really, in the making of a film—are often easier to articulate and explain than the film itself. But if the director is able to get everything he or she wants, we will likely end up with a film that’s too long. If the marketing people get their way, we will only make a film that mimics those that have already been “proven” to succeed—in other words, familiar to viewers but in all likelihood a creative failure. Each group, then, is trying to do the right thing, but they’re pulling in different directions. If any one of those groups “wins,” we lose. In an unhealthy culture, each group believes that if their objectives trump the goals of the other groups, the company will be better off. In a healthy culture, all constituencies recognize the importance of balancing competing desires—they want to be heard, but they don’t have to win. Their interaction with one another—the push and pull that occurs naturally when talented people are given clear goals—yields the balance we seek. But that only happens if they understand that achieving balance is a central goal of the company.

With the news that he would soon be a daddy again, Steve seemed inspired to work even harder. Our zoo continued to get busier, and we had trouble coping with the large numbers. The biggest draw was the crocodiles. Crowds poured in for the croc shows, filling up all the grandstands. The place was packed. Steve came up with a monumental plan. He was a big fan of the Colosseum-type arenas of the Roman gladiator days. He sketched out his idea for me on a piece of paper. “Have a go at this, it’s a coliseum,” he declared, his eyes wide with excitement. He drew an oval, then a series of smaller ovals in back of it. “Then we have crocodile ponds where the crocs could live. Every day a different croc could come out for the show and swim through a canal system”--he sketched rapidly--“then come out in the main area.” “Canals,” I said. “Could you get them to come in on cue?” “Piece of cake!” he said. “And get this! We call it…the Crocoseum!” His enthusiasm was contagious. Never mind that nothing like this had ever been done before. Steve was determined to take the excitement and hype of the ancient Roman gladiators and combine it with the need to show people just how awesome crocs really were. But it was a huge project. There was nothing to compare it to, because nothing even remotely similar had ever been attempted anywhere in the world. I priced it out: The budget to build the arena would have to be somewhere north of eight million dollars, a huge expense. Wes, John, Frank, and I all knew we’d have to rely on Steve’s knowledge of crocodiles to make this work. Steve’s enthusiasm never waned. He was determined. This would become the biggest structure at the zoo. The arena would seat five thousand and have space beneath it for museums, shops, and a food court. The center of the arena would have land areas large enough for people to work around crocodiles safely and water areas large enough for crocs to be able to access them easily. “How is this going to work, Steve?” I asked, after soberly assessing the cost. What if we laid out more than eight million dollars and the crocodiles decided not to cooperate? “How are you going to convince a crocodile to come out exactly at showtime, try to kill and eat the keeper, and then go back home again?” I bit my tongue when I realized what was coming out of my mouth: advice on crocodiles directed at the world’s expert on croc behavior. Steve was right with his philosophy: Build it, and they will come. These were heady times. As the Crocoseum rose into the sky, my tummy got bigger and bigger with our new baby. It felt like I was expanding as rapidly as the new project. The Crocoseum debuted during an Animal Planet live feed, its premiere beamed all over the world. The design was a smashing success. Once again, Steve had confounded the doubters.

When it comes to money and so many other things in life, understanding your weaknesses and strengths can help you with your future plans.

Story plays a role in the budget process when building reels.

If we don't value the people who inspire us (and money is one mark of that) then what kind of culture are we building?

Budgets are used to make decisions, not to control performance.

Economist Peter Orszag witnessed the workings of vetocracy and its nefarious consequences. Writing in 2011, he reflected on what he had just witnessed as one of the top economic policymakers in the United States: “During my recent stint in the Obama administration as director of the Office of Management and Budget, it was clear to me that the country’s political polarization was growing worse—harming Washington’s ability to do the basic, necessary work of governing. . . . Radical as it sounds we need to counter the gridlock of our political institutions by making them a bit less democratic. I know that such ideas carry risk. And I have arrived at these proposals reluctantly: they come more from frustration than from inspiration. But we need to confront the fact that a polarized, gridlocked government is doing real harm to our country. And we have to find some way out of it.

The pioneers researched for this book take a simpler approach: Budgets are established only if some forecast is needed to inform an important decision.

Miriam Adeney writes that the "'prosperity gospel' teachers are partly right. Christian faith often helps the family budget. People get drunk less. Their lives become more orderly. They become more accountable. Many churches help people in dysfunctional situations. . . . Christian faith encourages and inspires and motivates. Renouncing idols and serving Christ blesses individuals and can also bless communities and nations."13 The problem with the prosperity gospel, of course, is that faith is not a formula or a divine ATM at which the proper code guarantees a release of funds or health.

By necessity, the message companies send to their managers is conflicting: Develop your people, help them grow into strong contributors and team members, and oh, by the way, make sure everything goes smoothly because there aren’t enough resources, and the success of our enterprise depends on your group doing its job on time and on budget.

There had been a great deal riding on Toy Story, of course, and since making a film is an extremely complicated proposition, our production leaders had felt tremendous pressure to control the process—not just the budgets and schedules but the flow of information. If people went willy-nilly to anybody with their issues, they believed, the whole project could spiral out of control. So, to keep things on track, it was made clear to everyone from the get-go: If you have something to say, it needs to be communicated through your direct manager. If an animator wanted to talk to a modeler, for example, they were required to go through “proper channels.” The artists and technical people experienced this everything-goes-through-me mentality as irritating and obstructionist. I think of it as well-intentioned micromanaging. Because

There is one striking paradox I want to highlight: These companies are highly profitable, despite the fact that they seem to be, from an Orange perspective at least, quite careless about profits. Remember that they don’t make detailed budgets, they don’t compare budgets to actuals at the end of the month, they don’t set sales targets, and colleagues are free to spend any money they deem necessary without approval from above. They focus on what needs to be done, not on profitability, and yet this results in stellar profits.

It's OK to fire a customer. If the fit isn't right - they will end up causing you more harm than good - financially and emotionally. “Choose your customers ...“ Culturally things need to fit. If they don’t, you need to do something about it. Durgan talked to me about walking away from an insurance customer, because their expectations didn't meet their budget. They wanted CETSAT to take on a certain amount of cyber risk but weren't prepared to pay a fair amount. He was brave and walked away.

Step-by-step instructions to do anything your mind can conjure up is readily available. Platforms like Kickstarter, Google, Siri, Youtube and Alexa have made budgets, mentors, classes, and even institutional education no longer necessities for success.

Where Do Ideas Come From? As you begin to think like an entrepreneur, you’ll notice that business ideas can come from anywhere. When you go to the store, pay attention to the way they display the signage. Check the prices on restaurant menus not just for your own budget but also to compare them with the prices at other places. When you see an ad, ask yourself: What is the most important message the company is trying to communicate? While thinking like this, you’ll notice opportunities for microbusiness projects everywhere you go. Here are a few common sources of inspiration.

The ideas in this book have been inspired by many. But it is probably significant that the previous chapter, looking at new theory, cites so many women scholars who have put life at the centre of the economy, not the economy at the centre of life: Hannah Arendt’s work on the public life, vita activa; Elinor Ostrom’s on creating community via the commons; Kate Raworth’s on the construction of a circular economy which minimizes waste; Stephanie Kelton’s on the power of long-run finance and an outcomes-based budgeting process; Edith Penrose’s on the dynamic capabilities of value-creating organizations; Carlota Perez’s on tilting the playing field towards a smart green transition.

Ainsi posée, l'équation économique du vieillissement inspire invariablement quatre types de mesures publiques possibles. 1. L'allongement de la période de travail au cours d'une vie. Déjà en Espagne, au Japon ou en Allemagne, on prévoit de reporter l'âge légal du départ à la retraite au-delà de 65 ans pour modifier, même provisoirement, le rapport de dépendance démographique. 2. La hausse de la contribution de l'ensemble de la population à la vie économique du pays, par exemple en facilitant la combinaison de l'activité professionnelle et de la vie familiale des femmes pour les inciter à travailler. De la même façon, les mesures d'encouragement au vieillissement actif des seniors doivent leur permettre de diversifier leurs sources de revenus. Surtout qu'en plus d'alléger les budgets publics, on constate qu'une activité même limité réduit les risques de précarisation et d'isolement des personnes âgées, notamment des femmes, plus facilement exposées à la détérioration de leur état de santé et de leur situation économique. 3. La diminution du coût de certaines prestations, comme la prise en charge des maladies de longue durée, grâce à la mise en place de politiques de prévention systématiques des maladies non transmissibles et dégénératives. 4. Le recours à la migration de travail pour étendre la main-d'œuvre, accroître le volume des prélèvements de solidarité tout en comblant certains besoins du marché du travail. (p. 44)

Tom nudged them along, sending this hypothetical prompt to anyone who asked: “The year is 2017. Both of this year’s films were completed in well under 18,500 person-weeks …. What innovations helped these productions meet their budget goals? What are some specific things that we did differently?” In the end, four thousand emails poured into the Notes Day suggestion box—containing one thousand separate ideas in all. As

Yogyakarta, Indonesia (Java Island) Known as Jogja to locals and a small but steady flow of backpackers that fill up the budget accommodation in alleyways close to the town's main train station. The town itself has always had a reputation for attracting arts dealers from across Asia and is home to many impressive galleries and several significant palaces and monuments that show off different aspects of Islamic and Javanese culture and history. It is also very close to two of Indonesia's most important and impressive religious sites. Firstly the magnificent Borobodur, the worlds largest Buddhist monument outshines even Angkor Wat in terms of its size and grandeur. At sunrise especially it is a truly awe-inspiring sight. The other one is the Hindu temples at Prambanan which are equally important and it is easy to visit both Borobodur and Pramabanan on the same day although prepare for some fairly hefty entry fees of around US$20 at each site.

Never discount a country by their size or resources. What may not be useful to yours, could be greatly beneficial to other lands in need. Everything exists with a purpose. True wealth is what cannot be seen. While one country can have a huge powerful military, another land may lack the budget and manpower to compete with it --- but be filled with happy citizens.

Hire and Develop the Best: Leaders raise the performance bar with every hire and promotion. They recognize exceptional talent, and willingly move them throughout the organization. Leaders develop leaders and take seriously their role in coaching others. We work on behalf of our people to invent mechanisms for development like Career Choice. Insist on the Highest Standards: Leaders have relentlessly high standards—many people may think these standards are unreasonably high. Leaders are continually raising the bar and drive their teams to deliver high quality products, services, and processes. Leaders ensure that defects do not get sent down the line and that problems are fixed so they stay fixed. Think Big: Thinking small is a self-fulfilling prophecy. Leaders create and communicate a bold direction that inspires results. They think differently and look around corners for ways to serve customers. Bias for Action: Speed matters in business. Many decisions and actions are reversible and do not need extensive study. We value calculated risk taking. Frugality: Accomplish more with less. Constraints breed resourcefulness, self-sufficiency and invention. There are no extra points for growing headcount, budget size or fixed expense.

Business success depends on management decision-making from hindsight and insight for razor focused foresight without which careful oversight would be difficult at best.

Our football budget,” he said, “is the change you are carrying around in your pants pocket.

Amazon’s Leadership Principles6 Customer Obsession. Leaders start with the customer and work backwards. They work vigorously to earn and keep customer trust. Although leaders pay attention to competitors, they obsess over customers. Ownership. Leaders are owners. They think long term and don’t sacrifice long-term value for short-term results. They act on behalf of the entire company, beyond just their own team. They never say, “that’s not my job.” Invent and Simplify. Leaders expect and require innovation and invention from their teams and always find ways to simplify. They are externally aware, look for new ideas from everywhere, and are not limited by “not invented here.” As we do new things, we accept that we may be misunderstood for long periods of time. Are Right, A Lot. Leaders are right a lot. They have strong judgment and good instincts. They seek diverse perspectives and work to disconfirm their beliefs. Learn and Be Curious. Leaders are never done learning and always seek to improve themselves. They are curious about new possibilities and act to explore them. Hire and Develop the Best. Leaders raise the performance bar with every hire and promotion. They recognize exceptional talent, and willingly move them throughout the organization. Leaders develop leaders and take seriously their role in coaching others. We work on behalf of our people to invent mechanisms for development like Career Choice. Insist on the Highest Standards. Leaders have relentlessly high standards—many people may think these standards are unreasonably high. Leaders are continually raising the bar and drive their teams to deliver high-quality products, services, and processes. Leaders ensure that defects do not get sent down the line and that problems are fixed so they stay fixed. Think Big. Thinking small is a self-fulfilling prophecy. Leaders create and communicate a bold direction that inspires results. They think differently and look around corners for ways to serve customers. Bias for Action. Speed matters in business. Many decisions and actions are reversible and do not need extensive study. We value calculated risk-taking. Frugality. Accomplish more with less. Constraints breed resourcefulness, self-sufficiency, and invention. There are no extra points for growing headcount, budget size, or fixed expense. Earn Trust. Leaders listen attentively, speak candidly, and treat others respectfully. They are vocally self-critical, even when doing so is awkward or embarrassing. Leaders do not believe their or their team’s body odor smells of perfume. They benchmark themselves and their teams against the best.

You can fool all the people all the time if the advertising is right and the budget is big enough. -Joseph E. Levine (1905 -87)

Now, though, as we assembled the crew to work on our second film, A Bug’s Life, drawing on people who’d been key to Toy Story’s evolution, I discovered we’d completely missed a serious, ongoing rift between our creative and production departments. In short, production managers told me that working on Toy Story had been a nightmare. They felt disrespected and marginalized—like second-class citizens. And while they were gratified by Toy Story’s success, they were very reluctant to sign on to work on another film at Pixar. I was floored. How had we missed this? The answer, at least in part, was rooted in the role production managers play in making our films. Production managers are the people who keep track of the endless details that ensure that a movie is delivered on time and on budget. They monitor the overall progress of the crew; they keep track of the thousands of shots; they evaluate how resources are being used; they persuade and cajole and nudge and say no when necessary. In other words, they do something essential for a company whose success relies on hitting deadlines and staying on-budget: They manage people and safeguard the process. If there was one thing we prided ourselves on at Pixar, it was making sure that Pixar’s artists and technical people treated each other as equals, and I had assumed that that same mutual respect would be afforded to those who managed the productions. I had assumed wrong. Sure enough, when I checked with the artists and technical staff, they did believe that production managers were second-class and that they impeded—not facilitated—good filmmaking by overcontrolling the process, by micromanaging. Production managers, the folks I consulted told me, were just sand in the gears.

It was a late Friday afternoon when old Mr. Bartha came to my office. I offered him a drink and gave him a quick rundown of what we needed. I had prepared a Memorandum of Understanding and handed it over to him. When he saw the daily fee, which was market rate, but lowish, he suddenly became very emotional and cried. He said he couldn’t accept. His company was almost bankrupt, hundreds of families with children were very poor now. Couldn’t I raise the fee a little bit, he asked, shyly. I looked at him and saw him struggling, my heart broke, this old man was trying to help so many people. I thought about my budget and about what I would have to explain to the new CEO, Christian, a nice and competent Norwegian, and decided instantly to raise the fee. And as for my budget and explaining it to Christian, I’d cross that bridge when I get to it, I thought silently.

Budget for your time more than you budget for your money because you cannot buy time. So, safeguard it all the time.

You will never outgrow the need to budget. The day you stop budgeting is the day you start moving backward in your retirement

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Initially working out of our home in Northern California, with a garage-based lab, I wrote a one page letter introducing myself and what we had and posted it to the CEOs of twenty-two Fortune 500 companies. Within a couple of weeks, we had received seventeen responses, with invitations to meetings and referrals to heads of engineering departments. I met with those CEOs or their deputies and received an enthusiastic response from almost every individual. There was also strong interest from engineers given the task of interfacing with us. However, support from their senior engineering and product development managers was less forthcoming. We learned that many of the big companies we had approached were no longer manufacturers themselves but assemblers of components or were value-added reseller companies, who put their famous names on systems that other original equipment manufacturers (OEMs) had built. That didn't daunt us, though when helpful VPs of engineering at top-of-the-food-chain companies referred us to their suppliers, we found that many had little or no R & D capacity, were unwilling to take a risk on outside ideas, or had no room in their already stripped-down budgets for innovation. Our designs found nowhere to land. It became clear that we needed to build actual products and create an apples-to-apples comparison before we could interest potential manufacturing customers. Where to start? We created a matrix of the product areas that we believed PAX could impact and identified more than five hundred distinct market sectors-with potentially hundreds of thousands of products that we could improve. We had to focus. After analysis that included the size of the addressable market, ease of access, the cost and time it would take to develop working prototypes, the certifications and metrics of the various industries, the need for energy efficiency in the sector, and so on, we prioritized the list to fans, mixers, pumps, and propellers. We began hand-making prototypes as comparisons to existing, leading products. By this time, we were raising working capital from angel investors. It's important to note that this was during the first half of the last decade. The tragedy of September 11, 2001, and ensuing military actions had the world's attention. Clean tech and green tech were just emerging as terms, and energy efficiency was still more of a slogan than a driver for industry. The dot-com boom had busted. We'd researched venture capital firms in the late 1990s and found only seven in the United States investing in mechanical engineering inventions. These tended to be expansion-stage investors that didn't match our phase of development. Still, we were close to the famous Silicon Valley and had a few comical conversations with venture capitalists who said they'd be interested in investing-if we could turn our technology into a website. Instead, every six months or so, we drew up a budget for the following six months. Via a growing network of forward-thinking private investors who could see the looming need for dramatic changes in energy efficiency and the performance results of our prototypes compared to currently marketed products, we funded the next phase of research and business development.

budgets fail to deliver on one of their key objectives: making people feel accountable and motivated for their outcomes.

all that was on offer was a “strong, stable, national, majority Conservative government.” All we had were fights over the real cost of the F-35, and accusations of contempt for democracy and the promise of a balanced budget and more tax cuts down the road. Was there no one who could dream Canada, rather than just manage it? Was there no one who could inspire us to be greater than ourselves?

A creative team must be given the time, the space, and the budget to make mistakes. Individuals,

Budgeting is not just for people who do not have enough money. It is for everyone who wants to ensure that their money is enough.

The Doors music has been included in movies and their career has inspired feature films. Chapter 8 - The Doors at The Movies Ray Manzarek and Jim Morrison were film students at UCLA when they met. They both had an abiding interest in film and the past masters as well as creating a new cinema. Through The Doors they did create cinema. At first, one strictly of The Doors, but as their influence and legend spread through culture they, in turn, inspired those that were creating movies.   The Doors Film Feast of Friends Late in March 1968 (the exact date is unknown) The Doors decided to film a documentary of their forthcoming tour. The idea may have come about because Bobby Neuwirth, who was hired to hang out with Jim and try to direct his energies to more productive pursuits than drinking, produced a film Not to Touch the Earth that utilized behind the scenes film of The Doors. The band set up an initial budget of $20,000 for the project. Former UCLA film students Jim Morrison and Ray Manzarek hired film school friends Paul Ferrara as director of photography, Frank Lisciandro as editor, and Morrison friend Babe Hill as the sound recorder. The first show shot, for what would be later named Feast of Friends, was the April 13th performance at the Santa Rosa Fairgrounds. Overall shooting of the film lasted for five months between March and September, and captured the riots in Cleveland and the Singer Bowl. Filming culminated in Saratoga Springs, New York, where backstage Morrison goofed around on a warm up piano and improvised a hilarious ode to Frederick Nietzsche. After filming started, the concept grew and Feast of Friends was to incorporate fictional scenes (some version of HWY?). But problems started to arise. The live sound, in parts, was unusable so the decision was made to use the album cuts of Doors songs. The budget grew by another $10,000 and the film still wasn’t finished. A decision was made by Ray, Robby and John to pull the plug on the film, but Paul Ferrara appealed to Jim and a compromise was worked out. The fictional scenes would be dropped and another $4,000 was added to the budget to complete the editing. The completed film runs to about thirty-eight minutes and is mostly images taken from different shows, or the band prior to a show. It has some footage of the Singer Bowl riot, which shows the riot in full flower, the stage crowded with policemen and fans. Occasionally, Morrison comes out of nowhere to encourage it all. The centerpiece of the film is The End from the Hollywood Bowl show. The film suffers a bit from not using live sound, the superimposition of album cuts of songs (except the Hollywood Bowl footage) removes the viewer from the immediacy and impact of The Doors. Feast of Friends was later accepted at five major film festivals, including the Atlanta International Film Festival that Frank Lisciandro describes in An Hour For Magic. In later years Feast of Friends was shelved, missing the late 70’s midnight movie circuit showing rock films. In the 80’s with the advent of MTV, Ray Manzarek started producing videos of Doors songs for showing on MTV and they relied heavily on the Feast of Friends footage. Chances are that even if you haven’t seen Feast of Friends you’ve seen a lot of the footage.   Jim Morrison Films HWY The Doors had laid low for just over a month. On March 1, 1969, the ‘Miami Incident’ had occurred, at first with no reaction more than any other Doors show, and the band went off on a prearranged Jamaican vacation in anticipation

I developed an awe-inspired concept of being enveloped within nature and feeling like a tiny speck. This concept helps me change my body budget whenever I want. I can notice a tiny weed forcing its way through a crack in the sidewalk, proving yet again that nature cannot be tamed by civilization, and employ the same concept to take comfort in my insignificance.

Preparing for your amazing, incredible, mind-blowing retirement involves more than just making sure you’ve saved enough money, have your health-care needs covered, and have your new budget scoped out. While these are important activities, there are others needed to create that new, adventurous, kick-ass life awaiting you.

When top management asks departments to make their budgets, people play a game called sandbagging—they push for the lowest possible expectation to make sure they will achieve the targets and collect their bonuses. When the numbers don’t add up, top management arbitrarily imposes higher targets (which they make sure exceed what they promised to shareholders, to ensure they will make their bonuses too), which people lower down have no choice but to accept. Instead of frank discussions about what’s feasible and what’s not, people exchange spreadsheets with fictive forecasts driven by fear of not making the numbers. In the process, budgets fail to deliver on one of their key objectives: making people feel accountable and motivated for their outcomes.

This is something that Europe’s chief border guard refuses to grasp. Fabrice Leggeri is the head of Frontex, the agency that patrols the borders of the European Union. Frontex sends agents to some of the land borders, and patrol boats to the maritime ones. A square-jawed former head of the French frontier police, Leggeri is ideal for the job. When the EU decided not to replace Mare Nostrum in October 2014, it claimed that Leggeri’s teams were more than able to pick up the slack in the southern Mediterranean, thanks to a Frontex operation there known by its codename of ‘Triton’. This was an inspired piece of window dressing. Unlike Mare Nostrum, Triton’s mandate was not to search for and rescue people. Its role was merely to patrol the continent’s nautical borders – in waters far to the north of where Italian ships used to station themselves during Mare Nostrum. It had fewer ships at its disposal, and a budget that was just a third of its predecessor’s. The assumption was that a smaller-scale border-patrol mission would indirectly save more lives.

It's not a bargain if you can't afford it....even if it's on sale.