The next thing that happened to me was that I, we, were living in Paris where I then grew up.
I don't like going out where it's really, really crowded.
We don't know who John Brown was, and in many ways, his work shaped where we are today. He was a Pennsylvanian. He was the prototypical Yankee who fought back and suffered in doing so.
You know, people want to honor me, and on the one hand I just don't want to be a poster child; but on the other, I want to do something classy and great - something where the residuals will go to the cause.
Of course I have bills to pay, but at the same time, it's more about the passion and the love, and I think that's where music should come from, the heart, not necessarily just to cash a check.
When you're the most successful person in your family, in your neighborhood, and in your town, everybody thinks you're the First National Bank, and you have to figure out for yourself where those boundaries are.
I've been writing about my boyhood, when I was a little kid back on my grandfather's farm where we didn't know about black widow spiders or all that stuff. But writing about that is so easy.
Trust is to human relationships what faith is to gospel living. It is the beginning place, the foundation upon which more can be built. Where trust is, love can flourish.
I have a very nice garden and extraordinary markets, where there are products from the earth and the sea, in the French Basque country.
I show them the funny part, the silly part, the laughing part, the crazy part and then the really deep, deep part where I'm talking from my heart to these people. Because I've been through everything they've been through.
Now, do I think there has to be shared sacrifice among other nations in the world who want a stable and secure world? Absolutely, there has to be. But I don't think that America can ever abdicate its leadership role in the world because of who we are and where we've come from. We are the symbol for the world for freedom and liberty.
We do not know where to look, or what to look for, when something is memorized. We do not know what it means, or what change there is in the nervous system, when a fact is learned. This is a very important problem which has not been solved at all.
A James Cagney love scene is one where he lets the other guy live.
I feel that when I began writing, I had a need to know more about the play before I got into it. I think that's the way I was thinking. But my actual experience is that the best way to find out what the structure is, is by writing the play out laterally. You just have got to be brave enough to start without knowing where you are going.
When I was a child of six or seven my father would show me the chapter in the prophet Isaiah where the name Immanuel is found; more than once he spoke to me of the faith he put in me.
I've devoted a lot of my time and effort during the past few years to developing my advertising copywriting business to the point of where I can support my family and don't have to depend on writing fiction for my income.
Soaps have a schedule where you have to be done in 15 minutes. With an hour show, there's no way to get off schedule. On a movie, it's a lot easier to go back and reshoot scenes. I wasn't used to that at all... taking the time to really make each scene as good as it can be, which you can't do on soaps.
I've got, like, too many things that I'd like to try and do, so I'm trying to figure out where the natural pull is strongest.
The people of western Missouri are, in some respects, very peculiar. We will take Jackson county where I was born for instance. In that section the people seemed to be born fighters, the instinct being inherited from a long line of ancestors.
This is where I started life. This is where I went to uni. This is where the people I know are. This is my country, and when I put on my Great Britain vest, I'm proud, very proud, that it's my country.
It is very easy to make clear what you want a film to say, but I did not wish to engage in overt propaganda, even for the right cause. I wanted to create an experience through the films, something where people could have the freedom of their own response to them.
I think somehow you need to get to a certain point in your life where the notion of failure is absurd.
We are reinventing the world. We've set the ball spinning with little concern for where and how it's going to stop.
I think you always have to find where the boundary is in relation to the context in order to be able to kind of articulate how you want the space to interact with the viewer.
One of the things that's been nice about my career is that I've been able to do so many different things, and variety keeps your creative soul fulfilled. I'm constantly looking to find new things to do. It's just project to project for me. You never know where the next thing's going to come from.
But even with a character like Cary who is relatively outlandish, at the end of the movie he's in a place where I wouldn't have expected him to be - taking on the responsibility of a woman who is pregnant and who used to be his best friend's wife.
It's gotten to the point where it's big news when I don't do a horror film.
I see a future where states compete with one another to see which can be the most efficient, and where businesses seek out efficient states in which to locate so they can reap the economic and environmental benefits for their businesses and employees.
Concrete poets continue to turn out beautiful things, but to me they're more visual than oral, and they almost really belong on the wall rather than in a book. I haven't the least idea of where poetry is going.
I spent time at my grandfather Dino's gourmet store where he brought in chefs from Naples to cook. I thought of them as rock stars.
In a jazz atmosphere, the audience members were so quiet and respectful of the musicians that you felt you were almost part of a meeting at a church or a temple, where everyone was completely in tune with the sermon and what the whole event was about.
There comes a time in a man's life when to get where he has to go - if there are no doors or windows he walks through a wall.
The press was all over to get a picture of me. It got to the point where they were all over my house, following me to work... Then Tom Brokaw and everybody else was doing stories, 'A star is born.'
I think very early on in life we all learn what we're good at and what we're not good at, and we stay where it's safe.
In every revolution, there are winners and losers. Every dystopia is a utopia for somebody else. It just depends where you are. Are you in the class that benefits, or are you in the class that's not?
If women be educated for dependence; that is, to act according to the will of another fallible being, and submit, right or wrong, to power, where are we to stop?
