I write most of my stuff when I'm on a train or a plane, any mode of transport. I like trains because you hear this motoric rhythm and the scenery is great. You go into your own little world. You don't have to be anywhere else.
I learned a great lesson early on, even before I was really an actor, from that movie 'Planes, Trains & Automobiles' that John Hughes made: that you could make a movie that's really, really, really, really funny, and sometimes you can still achieve... making the audience feel very deep emotions as well.
The most surprising thing, honestly, is that so few Americans know about the orphan trains. I was also surprised at the resilience and fortitude of the riders I met, their pragmatism and grace. I don't know whether this is a Midwestern trait or simply a human one.
I really liked John Candy in 'Planes, Trains & Automobiles.' He was so good in that movie.
A good folk song tells you something you already know, in a form you're already familiar with, on terms that were set down long before you were born - when the country was primarily windblown dust, open wagon trains, and dysfunctional towns like Deadwood.
Everyone else trains just as hard as well and that there really is no such a thing as overnight success.
We must have a clear head and a clear-cut stand to confidently boycott those trains of thoughts that attempt to Westernise China, separate China and bring chaos to China.
I have written stories, essays, even whole books on trains, scribble-scribble.
One of the points in which I was especially interested was the Jim Crow regulations, that is, the system of separation of the races in street cars and railroad trains.
Urban legend has it that Area 51 is connected by underground tunnels and trains to other secret facilities around the country.
It is not altogether shyness that now makes me unsuccessful in company. Sometimes it is a state of mind that is three parts meditation, that will not free the thoughts until their attendant trains are prepared to follow them.
