The mosque was the neighbourhood house of worship, but it was also the place where my high school friends and I came to study.
At the time I came along, Hollywood's idea of teen movies meant there had to be a lot of nudity, usually involving boys in pursuit of sex, and pretty gross overall. Either that or a horror movie. And the last thing Hollywood wanted in their teen movies was teenagers!
My audience knows me, and I wear beautiful clothes as a badge of honor. They remember where I came from.
I remember my first test in F1. After five laps, I came back to the pits and tried to play it cool - 'Oh yeah, I'm fine, I'm on top of this' - but I was completely lost.
So I came home and I had a resume and everything, but the only job experience I had was just playing in bars and clubs on my summers off. So, I was temping and stuff during the day and playing music at night.
It's a sad indication of where Washington has come, where policy differences almost necessarily become questions of integrity. I came to Washington in the late '70s, and people had the ability in the past to have intense policy differences but didn't feel the need to question the other person's character.
I came to photography by accident.
I got into my very theatrical phase. I wore only black: a big black hat and wild hair and wild black clothes, and I carried a sword stick. I went there still looking like Miss Florida, and I came back looking very different.
I was the first person in my family who was ever interested in dance, or fine art of any kind for that matter - I came from a very humble beginning in San Pedro, California.
My own interest in basic aspects of electron transfer between metal complexes became active only after I came to the University of Chicago in 1946.
Then I came in twice a week - for my own enjoyment as well as to be a guide. And then we started to apply some of the splinters of the ideas back into the piece.
I came into the game when I broke into the major leagues, the minimum salary was seven thousand dollars, and I'd have to go home in the wintertime and get a job.
When I came back to power, Georgia was completely isolated on the international stage.
In radio I had one, maybe two people who cared about getting it done. I'd really be a loser if I forgot where I came from. So I show them the love. And how hard is it really to be interested in someone's life?
When you know how the coach ticks and how he wants to play football, it makes the decision easier. But for the main part, I came to England because of the club Manchester United.
I came through folk music simply because it was easy to get into it.
When Garcia died, and I decided not to play, I came out here.
I was in Paris at an English-language bookstore. I picked up a volume of Dickinson's poetry. I came back to my hotel, read 2,000 of her poems and immediately began composing in my head. I wrote down the melodies even before I got to a piano.
Now, when I came on to Washington to begin my job, I was so interested in photography at that time that I really would have preferred to work with Stryker than with my department, which was more artistic if you wish.
While I was still a boy, I came to the conclusion that there were three grades of thinking; and since I was later to claim thinking as my hobby, I came to an even stranger conclusion - namely, that I myself could not think at all.
I came to Playboy not expecting to stay. But after five years, I found myself really enjoying the business world, and I realized I had some skill.
There's a point where you think, 'What else will I do if I don't do music?' It becomes your identity when it never should have been. But food ignited a fire in me, and I came right back to music because it no longer felt like a job. It was a really powerful thing for me.
When I came to know theater, drama became valuable to me.
Just recently I worked with Van Morrison and I came to realize that money can't make a decent human being out of you.
My own sense of family, where I came from and what I made for myself is an important part of my life.
When I came out to L. A., I got a part in an episode of 'Star Trek: Voyager,' and I hired an acting coach.
The difference between me and American-born actors is that I came here with the expectation of not being treated fairly.
I am perhaps unusual in that I came to 'Doctor Who' through the numerous novelisations and not through the television show.
It's funny because I remember when I came to the U.S. with 'Swimming Pool,' the movie did well, and it was great box office for a French movie, but I remember I was a bit upset because all people talked to me about was the nudity.
It was fantastic when I came into snooker, when tobacco was throwing lots of money at it, and even when they fell away we thought others would come in because of all the TV exposure. But it didn't happen.
I came from a wealthy family. I made over my share of the estate to various charities.
I came out of repertory theater, where I worked 50 weeks a year, and I loved working with the people.
I was in better shape when I went into boot camp than when I came out.
I try to pull my inspirations from everyday life. If I came across a situation that is like, 'Oh, that's going to be scary, that's going to be frightening,' that's when I get inspired, and I put that into my films.
I came along in the '60s having absorbed as much as I could up until then and added my own tastes and search into the equation. I guess that's how I see 'Now He Sings, Now He Sobs' in relation to the development of jazz in general.
I was actually away in Africa doing 'Generation Kill' while everyone was auditioning for Twilight. They all had, like, five different auditions: I was so lucky that I came back from Africa just in time and the actor who was playing Emmett fell through, lucky for me!
