Doris Kearns Goodwin Quotes
I think with Lyndon Johnson, the most important thing I learned was that he never had the sense of security that comes from inside. It always depended on other people making him feel good about himself, which meant that he was always beholden, continually needing to succeed. He could never stop. There was such a restlessness in him.
Quotes to Explore
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I love when you aren't accountable to anybody or anything, and you can just be wherever you are.
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I've always loved to dress up a bit and show off.
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What you want to do is you want to own as little sort of hard infrastructure as possible, and your real value is your name and how you build that up.
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An unlimited America was the vision for the nation set forth by our Founding Fathers. It is the vision enshrined in those two great charters of freedom: our Declaration of Independence and our Constitution. Many of America's most intractable problems stem from the fact that we have strayed from that vision - and lost direction.
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Our planet's lands and oceans are already stretched to meet the demands of 7 billion people. The human population continues to grow. The search for sustainable solutions is an economic and a moral imperative if we are to create the future we want.
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However, as our brave men and women continue to return from the battlefields of the War on Terror, Congress must respond by enacting policies that meet the evolving needs of the veterans community.
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War is over if you want it.
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I am a just man.
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A great number of the women are victims to falling of the womb and weakness in the spine; but these are necessary results of their laborious existence, and do not belong either to climate or constitution.
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The closer a Negro got to the ballot box, the more he looked like a rapist.
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I keep pushing buttons and trying to grow as a person and as a filmmaker.
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My family is from Nigeria, and my full name is Uzoamaka, which means 'The road is good.'
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As an actor, I have casting issues. I'm a minority. I don't have trouble making a living, but as far as being on the food chain of the pecking order of actors, I'm not at the top of it. With the jobs that I do, there are always control issues with directors and producers.
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I feel for the overly thin women as I do for the overweight women.
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And my music is always such a release of what I feel inside, an impulse.
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The crush of lobbyists on Washington and purchase of the media by corporations has created a big business-run government and a worthless press leaving Americans screwed and ill-informed.
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I started coming up to New York at age 17. There was a girl I met over the summer somewhere; I was chasing her. I would drive up to D.C., where I had made some friends, which was about four hours away, and we would take the bus up to New York.
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I wanted to write a novel that would make others feel the history: the pain and fear that black people have had to live through in order to endure.
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I was a crazy Pee-wee Herman fan when I was in my early teens. Before he had the kids' TV show, he had a nightclub show in L.A., and I had gotten a VHS copy of it. It was a kids' show, but onstage in a bar, so it's sort of poking fun at the kids' show. And I was obsessed with that, and then 'Pee-wee's Big Adventure.'
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Part of why I think I have so much fun working in the mockumentary genre is that you can cut to pretty much anything at any time. People are now so conditioned to watch documentaries - they know how they operate, and that you can introduce a new character by cutting to them, and now they're in it. Similarly, being able to treat a sidebar idea that has nothing to do with your main story really seriously, the way the rest of it is being treated - all the pomp and circumstances lend themselves, I feel, to making comedy feel really earned and funnier and weirder.
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I'm always hyperaware of the way in which working people are portrayed on the stage.
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'You're Ugly Too' isn't a comedy, but it has a lightness of touch with a hard edge. But it's essentially a warm story tinged with a bit of melancholy in the great Irish tradition. I'm very proud of that film.
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I saw a Dead Head sticker on a Cadillac. A little voice inside my head said, don't look back, you can never look back.
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I think with Lyndon Johnson, the most important thing I learned was that he never had the sense of security that comes from inside. It always depended on other people making him feel good about himself, which meant that he was always beholden, continually needing to succeed. He could never stop. There was such a restlessness in him.
