Common (Lonnie Corant Jaman Shuka Rashid Lynn) Quotes
I was in the heart and soul of Baltimore. I definitely felt a connection to the people. They're really hard-working people that want to have a better life. And I saw the struggle that exists there.
Quotes to Explore
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Yes, I can speak a bit and I can read and write in Russian. I learned it from my grandmother who raised me with all the Russian fairytales.
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My vision for the future always centers around our children - it always centers around our children. So anytime anybody asks me what are the three most important issues facing the Congress, I always say the same thing: 'Our children, our children, our children.'
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When I first came out with my fans and the wind hit me, I almost took off.
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And in the Second World War, you didn't just read about it in the newspapers because you weren't allowed to read it in the newspapers. It was all censored, you know? So nobody knew what we were doing.
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If you ever meet an actor who's the child of actors, they'll never tell you that they wanted to be a star. But what I did realise early on was that I just wanted to be in that tribe.
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I was a big fan of Indiana Jones; then I realized he was kind of a fake hero. The real heroes are the people who work hard and do their stuff right, like firefighters and policemen.
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Any effort to create a second class of Americans, I just can't swallow that.
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There are so many Muslim women that feel like they don't fit society's standard of beauty. I just wanted to tell them it's OK to be different; being different is beautiful, too.
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Circumstances are the rulers of the weak; they are but the instruments of the wise.
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If you're a basketball player, you've got to shoot.
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I'm now the Lord of the Brighton Manor.
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The notion that one will not survive a particular catastrophe is, in general terms, a comfort since it is equivalent to abolishing the catastrophe.
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It is impossible for me to estimate how many of my early impressions of the world, correct and the opposite, came to me through newspapers. Homicide, adultery, no-hit pitching, and Balkanism were concepts that, left to my own devices, I would have encountered much later in life.
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Winston Cup and the Busch Series are two totally different leagues. You get put in different situations.
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My career is playing the guys who go, 'Boo.' That's what I do.
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When you start directing movies at the age of 24, you're just a kid; you don't necessarily even have the experiences to add to the story. You're working off of instinct and raw emotions and raw talent, and hopefully it's the same trajectory as growing as a person.
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I remember immediately - immediately - feeling like, 'I don't want to play 'We Are Young' when I'm 35. I don't want to be defined by this.'
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My characters are fictional. I get ideas from real people, sometimes, but my characters always exist only in my head.
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I've wanted to act since I was little, but my parents told me I couldn't pursue it until after college. The understanding was that I was lucky enough to be able to go to college and that it's important to being successful in life.
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When I was growing up you would see big American films that really mythologised their landscape, that really showed the vastness and the drama of their country.
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I often worry that my idea of personhood is nostalgic, irrational, inaccurate.
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I think my biggest focus for myself is learning how to continue to get through the trauma that my father has caused in my life.
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The vastness and the free sweep of our concentrated wealth on the one side, the independence, intelligence, moral vigor, and political power of the common people on the other side, promise a long-drawn grapple of contesting forces which may well make the heart of every American patriot sink within him.
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I was in the heart and soul of Baltimore. I definitely felt a connection to the people. They're really hard-working people that want to have a better life. And I saw the struggle that exists there.
