I came into the Agency with a set of ideas and attitudes that were quite typical of people coming into the Agency at that time. You could call it liberal anti-communism.
There was a perception of me, and I earned it because I was really intense, really gruff. I treated certain people poorly at times. It was because of who I was. It was almost my strength. I came in all business. I tried to find ways to fit in with that demeanor, but it's not easy.
I came in on the tail end of the old school of Hollywood.
The notion of 'history from below' hit the history profession in England very hard around the time I came to Oxford in the early 1960s.
When I came to New York and I opened the window of the thirty-fifth-floor apartment, there's light pollution and fog, and I couldn't see my star. So I drew it on my wrist with a pen, but it kept washing away. Then I went to a tattoo parlor on Second Avenue and had it done.
Forty-two years ago, I came to America from communist Cuba so I might have a better way of life, a freer way of life - a more democratic way of life. I wanted to live the American Dream where if you worked hard and put your mind to the task, anything was possible.
When I came out, and for many years afterwards, it had become a habit for me to sit and read and read and read, like an obsession. I would take 20 books, and not come out until I'd finished them. It took me a while to change that habit.
I came to a happy Jewish family in dark days in Europe.
I loved Stanford and symbolic systems. For me, I came to Stanford assuming I would be a doctor and got really deep into chemistry and biology, but I noticed everyone who was on the same track as me was taking the exact same classes. I wanted to do something more unique.
I had said no to him and no to him and no to him and no to him and no to him and no to him about his saucy language. It had never gotten to this level until I came back.
When I was 18, I joined the Screen Actors Guild, and after college I came to New York.
I came to Washington with a pledge to be a fiscally conservative.
Ever since I came to Congress in 1992, there are those who have been trying to silence my voice. I've been told to 'sit down and shut up' over and over again. Well, I won't sit down and I won't shut up until the full and unvarnished truth is placed before the American people.
Well, everybody knew their character. I was the only one who didn't have a partner. I basically showed up when people got in trouble. Where I came from, I don't know. Nobody knows. But I would show up to help.
I moved to Cardiff when I was 17 and never needed a car. When I came to L.A. for my first job there, I needed a car, so I had to pass my driving test.
After a couple of failed attempts, I came up with a weird tuning where I was dropping the G string down a step so that it became a seventh, and it got me to a place where I could play all these figures fairly easily. It was not an easy thing to work out.
When I came back to the UFC, I was just excited.
When I came out to Hollywood in 1985, I thought that I would be sitcom star. I'm a tall, skinny, goofy guy. I thought that I would make a great funny neighbor, or wacky office mate, in a sitcom.
However, I wasn't very good at the sciences, or didn't have a lot of help in the sciences or something but certainly didn't set science for my A level. And when I came to take my A levels I didn't get a good enough result to go to University.
I would compare that to when I first started with the Montreal Canadiens; it was a big family then, where the guys really stuck together and worked like a unit. But when I came back in '88, it was not like that anymore.
I think it's really important for me not to forget where I came from.
People would always ask me how I came up with my music and what it felt like to make music, and I would always see colours, and then I found out that that was synaesthesia. It helps me understand songs and what I like.
I came from a working-class family. My dad was in a union. I never forgot what it was like to be a private.
I came out to California to live with my mom in Orange County for a while, and then I came up to Hollywood. I had just turned nineteen. I took an acting class at Playhouse West and decided, 'Wow, I think I can do this!' I studied really hard for three years before I got an agent.
I don't get nothing but love. In every ghetto all over the world. Nothing but love. They respect that I came outta there and I'm doing it the right way. You can't do nothing but respect that.
When I was reading books for 'Seesaw Girl,' I came across several references to the fact that in the 11th and 12th centuries, Korean pottery was considered the finest in the world. I liked that - the idea of a little tiny country being the best at something.
I went to the woods because I wished to live deliberately, to front only the essential facts of life, and see if I could not learn what it had to teach, and not, when I came to die, discover that I had not lived.
Actors on stage, you can go from playing a myriad of roles, from Shakespeare to a Eugene O'Neil drama, and it's the norm. I came up in a world where you're supposed to be able to do three things very well. Act, sing, dance, paint, do something. The emphasis was on versatility.
Originally, I came from Texas, and we lived on - I guess you'd call it welfare, what we called relief.
It's rural America. It's where I came from. We always refer to ourselves as real America. Rural America, real America, real, real, America.
I came up with American Splendor. Some people think it's American Squalor.
I came down successfully through Picasso and Braque, down through Pollock, I guess, but I began to stop at Franz Kline and the Abstractionists. I like their design, brilliant design, marvelous color layers. But I don't find any human content there. I'm from an old school, and painting has to have human content for me.
I like the sci-fi channel. Just science in general. I came across a segment on time travel and how time travel is possible. We create a spaceship that's moving at almost the speed of light, we go in that spaceship in outer space, and we fly around for a year, when we get back to Earth, Earth would've aged 10 years.
I came late to the genre of folk music.
I wasn't a vegan when I came to Congress. It was a decision I made soon after I got here, and it's had such a positive impact on my life that I decided to try to help others as well.
In 'Cosmicomics,' I came close to science fiction - I was inspired by cosmological subjects and the workings of the universe and invented a character who was a sort of witness to everything that was happening inside the solar system.
