When I came to the Food Network, I didn't want to do a cooking show. I told Kathleen Finch for nine months I didn't want to do a cooking show, I wanted to do a home-and-garden show.
I came from a farming background, and my career was teaching.
When I came to the West, I saw many, many things for the first time. But I also saw the prosperity of the West critically. It wasn't really Heaven.
I've been in the game for 30 years and I came to represent.
The morale when I came in was not the best. It was because the agency had not been valued.
I was eleventh-grade class president. That was the first elective office I held until I came into Congress.
Over the tops of it, beginning to dusk under a young white moon, trailed a wavering ghost of smoke, and at the end of it I came upon the Pocket Hunter making a dry camp in the friendly scrub.
I got my Equity Card with my Broadway debut when I did 'Rent.' I was in high school, and I came to New York to do that show.
Eventually the bad stuff I'm writing turns into better stuff. Other times, I've just walked away from what I was working on, and figured I'd have a better perspective when I came back to it.
And you have to remember that I came to America as an immigrant. You know, on a ship, through the Statue of Liberty. And I saw that skyline, not just as a representation of steel and concrete and glass, but as really the substance of the American Dream.
I think that people always just assumed that I was a liberal because I came from Southeast Seattle.
I came to believe that my true identity goes beyond the outer roles I play. It transcends the ego. I came to understand that there is an Authentic 'I' within - an 'I Am,' or divine spark within the soul.
I came to declare that I am a friend to Arabs, at a time when it is not easy to be friend to Arabs, because nowadays those who have ambitions and interests would not befriend Arab.
I've never been bashful to say that I'm not really interested in Formula One. When I lived in England, it's all I wanted to do and I thought that anything else would somehow be a compromise to my dreams. But then when I came back to the States, I realised how much I loved being back in the States.
I came from product design originally - I had been designing dolls for a toy company since I was 16 - so I'm used to working with plastic and different things. I had an innate interest in objects.
I was on the sideline with a knee injury and when I came back, I wanted to play at the best level I could. And that's the case for a lot of players, they want the chance to play against the best competition.
What I am is how I came out. No one's perfect and you just have to accept your flaws and learn to love yourself.
I was a very shy girl who led an insulated life; it was only when I came to Oxford, and to Harvard before that, that suddenly I saw the power of people. I didn't know such a power existed, I saw people criticising their own president; you couldn't do that in Pakistan - you'd be thrown in prison.
I'd wanted to be a writer and when I came back to New York worked as a musician too, but I found my writing starting to get more and more referential to cinema.
I came like Water, and like Wind I go.
When I came out of service, the first couple of releases didn't really hit so I just took a little hiatus and sat down to see what was happening. I just glued my ears to the radio and then I started writing - the first hit record that came out was 'Everybody Loves a Winner.'
I weighed 190 when I got to boot camp, I came out at 178. I ate only the beans and tomato sauce.
Like I said, a 30-year-old hockey player, even when I came to New York when I was 30, I was on the downside of my career, pretty much the end of my career.
When I came to America in 1978, I was a huge sports fan - the problem was, my sport was cricket. Shockingly enough, no one wanted to talk cricket with me!
Hong Kong girls have a genius sense of style. I came back to the States thinking no one here has any individuality. Or cute enough socks.
I am not the sort of person who divests myself of everything that came before I came to Australia. I want to take all the knowledge and experiences I gained when I was in England and put it at the service of Australia because I have to bring something to Australia - not just money but myself.
I want it to be one-sided. I don't want to take any bumps or bruises: I want to go out and dictate all aspects and go out the way I came in. I'm looking to dominate and dictate.
When I won the first Grammy, there was no other feeling like that feeling. It just made me feel like I came so far, like that was just a dream a few years before that, and then it was happening right then.
I came to London. It had become the center of my world and I had worked hard to come to it. And I was lost.
I came from a dysfunctional family - very dysfunctional. And my father used to find great humor in throwing me down the stairs.
I came at age in the '60s, and initially my hopes and dreams were invested in politics and the movements of the time - the anti-war movement, the civil rights movement. I worked on Bobby Kennedy's campaign for president as a teenager in California and the night he was killed.
I could only try to comfort the women that I came face-to-face with. I was really moved by how much they wanted to talk, how much they needed to be comforted, and how happy they were that we were there.
I did 12 years with nuns, you know. So I came out of it going, like, 'I think Jesus is all right.' The rest of it I think stinks to the high heavens.
I came to filmmaking because it's my passion. I decided I can't have it distorted or marred by someone else deciding what it should be.
Even when I finished third at the U.S. Open a few weeks back, I didn't putt very well, nor in the last round of last year's Masters when Mickelson won, nor last year's Open at Turnberry, where I came second.
My dad was a homicide cop in the gay neighborhood in the city when gay neighborhoods were desperate, depressing, sad places run by the mob. The only gay people he'd met when I came out to him were corpses.
