Quotes of All Topics . Occasions . Authors
One of the great lessons I learned about historical fiction from writing 'Loving Frank' is that you don't try to disguise what people did; my approach was to try to understand the characters and why they did what they did.
In the early work of Frank Lloyd Wright - and you can also see it with Mies - they make new ground by raising the ground. Frank Lloyd Wright did it so beautifully with the Robie House. The roof becomes almost a new ground.
We just thought of 'Boosh' as an extension of our childhoods in a way, the stuff we had grown up on and loved: 'Monty Python,' The Goodies, Frank Zappa. It spoke to a certain type of person, and we just carried on doing it.
In days when the public safety is imminently threatened, and the fate of a nation may hang upon a single act, we owe frank speech, above all other men, to him who is highest in authority. I shall speak to you as man to man.
If life is so critical, if Anne Frank could die, if my friend could die, children were as vulnerable as adults, and that gave me a secret purpose to my work, to make them live. Because I wanted to live. I wanted to grow up.
It wasn't until I was an adult reader that I began to fathom the influence of fairy tales on writers I was in love with over the years, from Louisa May Alcott to Bernard Malamud to John Cheever to Anne Frank to Joy Williams.
The Best of Elvis Presley, Doris Day, Jerry Lee Lewis, Bill Hailey and the Comets, Frank Sinatra, Peggy Lee, Frankie Laine all topped the charts in the '50s. Load a playlist of rock n' roll royalty. You're spoilt for choice.
Rob Thomas, the Action Bronson and the Riff Raff. Both the musicians, they know who I am and they know I come from oldest country in the world and if I want my words like the music. I forever love them like the Frank Sinatra.
I've heard that Alfred Hitchcock said that by the time he was ready to shoot a film, he didn't even want to do it any more because he'd already had all of the fun of working it out. It's the same thing with these Frank comics.
In something like 'Frank,' which is a comedy, albeit a strange and emotional one, you can absolutely put in deleted scenes, and we did because they were just funny and great, but they weren't necessary in the overall structure.
After I posted the picture of Frank Ocean, I think his little brother called him and said the picture was all over the Internet, so Frank Ocean was like, 'I'm not on social media like that, but it's cool. I'm not mad about it.'
When I was very, very young, I decided that I was gonna catalogue my times because that's what other people who I admired did. That's what Bob Dylan did, that's what Frank Sinatra did, Hank Williams did, in very different ways.
There's a long tradition - certainly with country, but in all kinds of genres of music - to have humorous lyrics. Certainly with Frank Zappa and the Mothers of Invention and, if you look at country, Roger Miller and Jim Stafford.
My husband and I like to reminisce about how, when we were 9, we read straight through L. Frank Baum's 'Oz' series, books filled with wizards and witches. And you know what those subversive tales taught us? That we loved to read!
If I could go back in time and tell my younger self that eventually that I'd become very successful writing Dune books after Frank Herbert's death, I would have laughed myself silly, I think, at how strange that prospect would be.
When I was 16 years old, my brother Frank said, 'You'd better become a catcher, because you're too big and fat to do anything else.' Well, I took his advice. It was a quick way to get to the big leagues, and I've never regretted it.
Black women voted against Roy Moore not because they necessarily wanted the other guy; they voted against Roy Moore because they knew that would be better for the people of Alabama and, to be frank, better for the rest of the country.
Here's the mark that a lot of people miss nowadays. Producers missed. They leave out the heart and soul. And that's what I learned from Sammy Davis, Jr., from Frank Sinatra, is when you went to go see those shows, you got to know them.
Scott Frank and I are director friends. We met through the Sundance Labs and he's advised me on my first projects - I've visited him on set, we've shared first cuts with each other, and we're more like director pals than anything else.
One of my pet peeves is that sometimes the talents of my band get overlooked because, and it was the same problem that Frank Zappa had, with a lot of groups that use humor, people don't realize there's a lot of craft behind the comedy.
I am excited by and impressed with Anthony Joshua, but Anthony has a long way to go. At first, I thought Anthony was similar to a Frank Bruno figure, but after a few fights, I realised he's nothing like Frank Bruno. He's very athletic.
Singers, like Frank Sinatra and myself, we interpret the songs that we like. Not unlike a Shakespearean actor that goes back to the greatest words ever written, we go back to the greatest songs and bring about my interpretation of them.
'Pastoralia' by George Saunders. Possibly my favorite book. It's one of the weirdest books I've ever read. If Monty Python and Thomas Pynchon had a love child, and it was raised by Frank Zappa on a weird commune, that would be this book.
My father was a studio musician, played for a lot of people like Frank Zappa and a lot of R&B bands, and was always gone doing that. Then when he was home, he was practicing. And so I always saw it, and I always wanted to do what he did.
Frank Sinatra discovered me at a nightclub called P.J.'s in Hollywood. It was 1962. He used to come in there a lot with all his big star friends. I was so nervous to see him. I've only had one idol in my life, and that was Frank Sinatra.
Frank Sinatra changed people's approach to singing. Ella Fitzgerald, Marvin Gaye, van Gogh, they were all part of movements that allowed people to think about their craft differently. They changed the game. These people changed the game.
I want to be known as a triple threat. I have aspirations to win an Oscar and a Grammy, and I also want to win a Tony. I want to be one of those guys like Frank Sinatra or Sammy Davis Jr. that crossed all those barriers of entertainment.
I have very vivid memories of my parents talking about Nixon, my mom watching Watergate on the black-and-white set in the living room. The mayor at the time in Philadelphia was a guy named Frank Rizzo - a Democrat, a real bully, a racist.
The United States is a strong and ardent ally of Israel. The fact of the matter is that friends can disagree. I think what's important is that world leaders are able to sit down with one another, have frank conversations and move forward.
I admired the work of photographers like Beaton, Penn, and Avedon as much as I respected the grittier photographers such as Robert Frank. But in the same way that I had to find my own way of reportage, I had to find my own form of glamour.
It was a long time ago: 'Angela's Ashes' by Frank McCourt. It was a great story that was lasting, and I loved it so much. I also love Nora Ephron. I gobble up everything she writes. Also, I love Anthony Bourdain, very irreverent and funny.
People like Frank Zappa and Bryan Ferry knew we could pick and choose from the history of music, stick things together looking for friction and energy. They were more like playwrights; they invented characters and wrote a life around them.
My parents were big music fans, and my dad plays music, so I grew up with Madonna, Frank Zappa, the Beatles, Alice In Chains... it was all over the place. I had a Third Eye Blind record, but I also had Korn, Courtney Love, and Shania Twain.
I feel ready to fight all of them now, the very best, including Deontay Wilder, Tyson Fury, Anthony Joshua and Dillian Whyte, but I know my dad, my trainer Martin Bowers, and my promoter Frank Warren don't want to rush me through the ranks.
We grew up listening to a variety of music, such as Gospel/Christian, R&B old/new school, jazz, blues, Mozart, Mary Poppins, Frank Sinatra, Barbra Streisand, just to name a few. I love opera, too - went to state in high school as a soloist.
My heroes are guys like Frank Capra and Elia Kazan and Coen brothers and Terry Gilliam, more so than a lot of bass players at this point in my life. So I've always been an old-film nut and have very much enjoyed doing videos over the years.
I'd been going up for things, but I hadn't got anything, and then 'Anne Frank' came out, and there was a sudden flurry. I got a call saying they wanted to see me at the Globe, which was incredible because I'd been coming here since I was 12.
My dad was kind of a pool shark and had a Frank Sinatra, Dean Martin thing going on. I've always been fascinated by the fifties because of him. There was a hip, cool, anything-goes atmosphere back then, but looking good was still a priority.
I'm awful at karaoke, but if I did have to sing, I'd go for my favourite Frank Sinatra song 'I've Got You Under My Skin.' The fact I love Frank is my grandfather's doing: he drummed it into me from a very early age that Frank Sinatra is God.
Over the years, if you look at the films of people like Billy Wilder, Preston Sturges, Frank Capra, their supporting characters, even if it's a doorman with two lines, always seem three-dimensional. To me, that's a sign of good storytelling.
I'm not going to tell the American president how to run America, but I think it is important that when friends are speaking to each other that they are able to be very frank in the views that are exchanged, and I certainly will be doing that.
Frank Sinatra did 'Born Free', Tony Bennett did 'Walkabout,' but you have no control over who does what, really. So you just hold yourself responsible for the stuff you do, and then get filthy rich on all this stuff that other people have done.
I want to coach because I love it. I don't want to sound hokey, but when you play for Frank McGuire, Dean Smith, and Pete Newell - they taught me a lot - I want to share what they taught me with a lot of people. I don't want to stop doing this.
I've learned that people latch onto labels and stereotypes. There was a period when I was asked in every single interview how I liked being the new Frank Sinatra... I think people will soon realize that I do a lot more than interpret old songs.
Pablo Picasso, Frank Sinatra, Ernest Hemingway, Mel Gibson, Lou Reed, Norman Mailer, Vanessa Redgrave, Van Morrison - each is distinguished by controversies unrelated to his or her art; by many accounts, some of them are not nice people at all.
I was also very lucky to be a teammate of two of the greatest players to have ever played the game. I learned very early on by playing for Frank Robinson and with Henry Aaron that even the greatest players in the game were just one of the guys.
Frank Morley, who had worked in London at Faber and Faber, was the new head of Harcourt Brace, and he hired me to start in 1940. The early years at Harcourt were wonderful. Almost my first assignment was Virginia Woolf's novel 'Between the Acts.'
As I went through 'This Progress,' one of two performance pieces by Tino Sehgal that transform Frank Lloyd Wright's emptied-out spiral into a dreamy Socratic-purgatorial journey, the museum literally fell away. I was suspended in some weird nonspace.
A turning point in the public's perception of the building art came with the publication of Frank Lloyd Wright's 'An Autobiography' of 1932, a picaresque narrative that captivated many who hadn't the slightest inkling of what architects actually did.
Frank Lloyd Wright made houses right up until the end. I think that's important because it gives you a direct connection to all the basic aspects of architecture - the spatial energy of the place, the construction, the materials, the site, the detail.