Quotes of All Topics . Occasions . Authors
Baltimore was like a small town when I got there - the Colts, the Orioles, guys like Frank Robinson, we all knew and respected each other. Everyone would cross paths at one point at Lenny Moore's Sportsman's Lounge, trading stories and having some fun.
This was in June, 1866. Frank wrote for me to come to him at once, and although my own wound was still very bad, I started immediately and stayed with him at the house of Mr. Alexander Severe, in Nelson county, until he recovered, which was in September.
I want people - boys and girls - to be sat at home watching me alongside the likes of Rio Ferdinand or Frank Lampard, thinking that it's normal, that we all know what we're talking about, and that they're not judging me at home just because I'm a female.
First, unreliability is not the sole preserve of fictional narrators. Second, the pleasure of patting oneself on the back for seizing on instances of unreliability and ignorance is, as the late Frank Kermode may or may not have pointed out, considerable.
I grew up in a time when Eames and Le Corbusier and Frank Lloyd Wright and other architects were putting their furniture and objects on the market. You could buy some of those objects on the open market. Eames was a huge influence on all of us in school.
Louis Armstrong's 'What a Wonderful World' is my ultimate karaoke song. It is a wonderful world. People forget we only have a certain amount of time, and it can all end at any moment. Armstrong and Frank Sinatra's 'My Way' are the ultimate one-two punch.
A lot of music influences me in other ways than this, but I've always taken a lot of influence from Stevie Wonder, Frank Ocean, and Jeff Rosenstock for the Rex music. They were also the first three artists that released albums where I enjoyed every song.
I am very happy working for my European brands. My legacy isn't going to be a museum. Yet I would be very good at it. It's so painful. It's like everything - the same old guys - Herzog & de Meuron, Frank Gehry, Renzo Piano - they don't pick original people.
We will have close to 3 months of rehearsals to learn about 30 songs. Frank usually rehearsed a band for at least 3 months. If it took him that long to be comfortable we probably would need double the amount, but It's just not financially possible to do so.
'Loving Frank' is about a forbidden love affair between two people who lived a hundred years ago - Frank Lloyd Wright and his married client, Mamah Borthwick Cheney. The affair set off a colossal newspaper scandal when the lovers ran off to Europe together.
The human race survived the Inquisition. We can survive. It's like the Anne Frank quote: 'In spite of everything, I still believe that people are basically good at heart.' Given what happened to her, it's one of the miracles of the world that she said that.
When I was a kid in the late '60s and early '70s, my parents and their friends would play the records of Andy Williams, Dean Martin, Frank Sinatra, and Perry Como, music with string arrangements and men singing songs that sounded sad whether they were or not.
For Michael Wright and Frank Darabont to cast me as the ultimate good guy and Eddie Burns as the ultimate bad guy, and really switching roles from what we usually play, is pretty awesome. That generally doesn't happen, but TNT is a horse of a different color.
Sure I do a lot of jokes about Anne Frank. But when you do those jokes, it makes people remember what happened to her. That process of bringing her story back doesn't have to be a serious one. What I say is all nonsense, but it helps to keep her memory alive.
The thing is when you play a character it's the persona you bring across from a book to film, or book to script to film. If I play Frank Sinatra, there's gonna be things I do in a movie that Frank might not have done, but it's the personality that comes across.
A massive thank you also goes to everyone at the SFA for looking after me since I was a young boy, including Frank Reilly, Doc McLean, Jonesy, managers, coaches, staff, the physios, massage therapists, kit men and the media staff I've worked with over the years.
When we first went to L.A., Howard Koch, who was the head of Paramount Pictures and later President of the Oscars, threw a welcome lunch for us at his house. There were all these stars there - Frank Sinatra, Dean Martin, Lucille Ball, Natalie Wood, Henry Mancini.
I listened to a lot of Amy Winehouse: her albums 'Frank' and 'Back to Black'. She was such an incredible artist. She was just so raw and had her unique sound; she paired jazz with pop and was so soulful at the same time. So I pulled from her a lot in the beginning.
Our diplomacy and development budget is not just about reducing spending and finding efficiencies. We need a frank conversation about what we stand for as that 'shining city on a hill.' And that conversation begins by acknowledging that we can't do it on the cheap.
While it is true that Frank had a great sense of humor, he was also very serious about composing music. In reality there are only a handful of skilled players who can play his most complex pieces. It takes a lot of patience to learn and requires a fantastic memory.
I knew Sinatra for 38 years. He was like my father. Frank Sinatra was my 'dad.' He treated me like his son. He gave me the best advice about singing, about this and that... He was a very sensitive man, very astute, one of the sharpest men that I ever met in my life.
Like a lot of people, I read 'The Diary of Anne Frank' again and again and again when I was growing up - I'm still completely felled by what an astounding book it is. And as a teenager, I did a lot of reading about concentration camps and the vast horrors of the war.
Marvin Gaye, I'm super influenced by him. D'Angelo, Donny Hathaway. All the old school cats. New people, I like M83. I like Coldplay. I love Frank Ocean. Miguel. I get inspired by all these cats. People don't know that me and Frank Ocean went to high school together.
As my life went on and I met Frank Sinatra and people like that, and I watched live performers on stage, I learned how to tell a story. Because if you listen to Sinatra, all of his songs are stories; there's a beginning, middle, and end. So that's where it comes from.
Kathie Lee and I were working together on our 'Live' morning show when she started dating Frank. I always loved trying to get her to tell me about her new romance, and it wasn't long before we were watching them take their vows in front of close friends in Southhampton.
Remember those black-and-white films with Frank Sinatra? Those guys looked like men and they were only 27! Listen to Otis Redding singing 'Try A Little Tenderness'. That was a man who understood what a man has to know in the world. Show me a real man now! Where are they?
Yes, but I view Frank's music as fully composed. In other words, the arrangements can work for any idiom such as a rock band or an orchestra. Frank was a brilliant arranger and could make his music work in any context. He proved that tour after tour and album after album.
I went with a friend to see Frank Sinatra in Las Vegas, in the last year that he was performing. He wasn't necessarily on top form, but the way he could connect with an audience and the way he communicated through the lyrics was something I hadn't ever really seen before.
Theater was definitely part of my roots. My father would take me to plays, and then my mother was always on the lookout for other talent and taking me to see plays. I saw Frank Langella in 'Dracula'... Great, great performances. I was a theater rat, hanging out backstage.
Well, I met Frank Sinatra and Bob Dylan in the space of 15 minutes. Frank Sinatra kissed me on the lips. He kissed me on the lips. And then he gave me a filterless cigarette. And then I met Bob Dylan. I came off all lightheaded and had to go sit on his dressing-room steps.
To be frank, it sometimes seems that the American idea of freedom has more to do with my freedom to do what I want than your freedom to do what you want. I think that, in Europe, we're probably better at understanding how to balance those competing claims, though not a lot.
I'm always telling people baseball needs to be more prominent in the African American community. What a better way to do so, going on these TV shows and appearing on the cover of this or that. Now kids can see how baseball can change your life. Frank Thomas did that for me.
But I think what made me go into theater was seeing my mother onstage. The first thing she did was Mrs. Frank in 'The Diary of Anne Frank.' The second thing she did was a play about Freud called 'The Far Country.' She played a paralyzed woman in Vienna who goes to see Freud.
When I was first exposed to the films of Ingmar Bergman, I found them frank and disturbing portraits of the world we live in, but that was not something that displeased me. They were beautiful. I thought people would respond to my plays the way I responded to Bergman's films.
I have always encouraged open and frank discussion among embassy employees and the expression of dissenting views, because this is the best way to maintain morale among embassy personnel and to arrive at sensible decisions which are in the best interests of the United States.
Some people have a misunderstanding about the Army. Some people think, 'Hey, you're in the military, and everything is super-hierarchical, and you're in an environment that is intolerable of criticism, and people don't want frank assessments.' I think the opposite is the case.
I started keeping a diary in third grade and, in solidarity with Anne Frank, gave it a name and made it my confidante. To this day, I feel comforted and relieved of loneliness, no matter how foreign my surroundings, if I have a pad and a pen with which to record my experiences.
In the Army, because the stakes are so high - right? - you can't just be a yes-man and say, 'Great idea, boss!' if you don't believe it - right? - because lives are at stake. And the commanders that I've worked for, they want frank assessments; they want criticism and feedback.
I got lucky. To be frank, I was surrounded by white teachers who never did the whole, 'You're never going to amount to nothing' thing you hear about in the South. Instead, they would say, 'You're really smart. You can do this.' If I hadn't gotten that, I don't know where I'd be.
I've been touching instruments since the day I was born. My mother is Brazilian, and she listens to Brazilian music. My father was a musician, and I've seen pictures of him when he was in a band playing guitar and piano. He loved country music, Frank Sinatra, and stuff like that.
My dad, Frank Addison Albini, was a terrific shot with a rifle and had generally excellent hunting skills. While my dad loved hunting and fishing, he didn't romanticize them. He was filling the freezer, not intellectualizing some caveman impulse or proving his worth as a real man.
Frank Sobotka in 'The Wire' on HBO was one of the greatest characters I've ever played. They cut his throat at the end of that season. There's something about creative coupling that seems to go with great characters, and the fact that you can never play them again once you're done.
One of the things I've discovered at my age is I must have enchantment. And that was not clear to me in my earlier years. When I look at my favorite films, the Frank Capra - even Scorsese, even 'Goodfellas,' what makes that movie so remarkable is there's enchantment in their world.
What brought me to Disney was the new regime, which is now the old regime - came over with Michael Eisner, Frank Wells, Jeffrey Katzenberg - and all these people really wanted to reinvigorate the animated musical, so they came to Howard Ashman and me. That was my entry into Disney.
Three coaches at Notre Dame made a big difference in my life, not that I played any football when I attended Notre Dame. But Frank Leahy, Ara Parseghian, and Lou Holtz - they all made a difference to me, and I respected them for their attitudes about life and how they handled loss.
I've always respected Coach Frank. I kind of publicly recruited him because I really need him and want him. I'm kind of the college recruiter now because he brings a lot to the table. He's had success here and understands the good and the bad, so I'm recruiting him to join my staff.
I remember when I drove into Notre Dame, getting ready for the first day of work. I had an electrical charge go up my back because I realized all of a sudden that I was responsible for the traditions that the Knute Rocknes and the Frank Leahys had set, and what Notre Dame stood for.
When we were graduating from college, my dramatics professor Frank Thakurdas called me to his house and said, 'Satish, you're capable of doing a lot of things in life, but you should become a professional actor.' I told him that I am not a good-looking guy, how will I become an actor?
The fact is Jerry Weintraub, the handsome, bearish movie producer, the man with the long career, who worked with Arthur Godfrey and Elvis Presley and Frank Sinatra and George Clooney, is a great storyteller - he's this as much as he's anything else. He takes time telling stories, too.
Frank's really different from everything I've done. Maybe the one thing that's the same, and the thing that I tend to do, is that I think I can create an intimacy with the characters, like a sense of presence with the people in the film, and that's what I tried to do in 'Room' as well.