A Quote by Bruce Springsteen
No, I always felt that amongst my core fans- because there was a level of popularity that I had in the mid '80s that was sort of a bump on the scale- they fundamentally understood the values that are at work in my work.
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The flow that I use, I really developed my rap style in the mid '80s based on Grandmaster Caz from the Cold Crush Brothers, from listening to him. That's like really who I pretty much patterned my style from and I just really took it to another level once I had the opportunity to get out amongst the world myself.
My grandmother's house was just a place of comfort. I mean, I remember going in there, and the kitchen always had pots cooking with the lids were always bump, bump, bump, bump, bubbling, you know?
The drive to scale in almost every endeavor. The British went very large scale in ship building and a few other industries. Their steel plants were bigger and much more advanced than ours after the Civil War, but we had blown past them by the mid-80s.
If I was playing for a club in mid-table, I could make three or four mistakes, and no one would notice because the analysis is not at the top level. But when you play for a big club, every little mistake is highlighted. So every day, you work, work, work.
I have done a lot of work in Hollywood myself. I worked in television for roughly 10 years, from the mid-'80s to mid-'90s. And I was on staff at a couple of shows. I did some feature films, including originals and adaptations.
I'm a work horse. I like to work. I always did. I think that there is such a thing as energy, creation overflowing. And I always felt that I have this great energy and it was bound to sort of burst at the seams, so that my work automatically took its place with a mind like mine. I've never had a day when I didn't want to work. I've never had a day like that. And I knew that a day I took away from the work did not make me too happy. I just feel that I'm in tune with the right vibrations in the universe when I'm in the process of working. ... In my studio I'm as happy as a cow in her stall.
You have to have core values. What do you believe in? Do you believe in hard work? Do you believe in discipline? Do you believe in conditioning? Because those are the things I know that do work.
Presidents have to decide what their popularity is for. Lyndon Johnson probably understood best that political popularity is a wasting asset. You had to use it when you had it.
After I had written a paper or letter for Bohr, I always had the impression that I had learned something which I could use for my own work. And somehow, I never felt that I had too little time for my own work. I always found time.
I've always had a great interest in sports that embody the values of commitment, hard work and teamwork - all values I strongly believe in.
If the work is pure then you have to think it could be understood. If it is not understood it doesn't mean that your work is not accessible. It doesn't worry me, but, of course, I would be pleased if people liked my work.
Most of the problem I see amongst friends and I've experienced amongst myself is when people haven't accommodated the inequality that they want, they haven't understood that their partner wants to give more love and receive less or they haven't understood that their partner wants to receive more, but sort of give less.
I've always felt very convicted that I didn't want to work in kind of the Christian film-making ghetto. My calling was always to show myself approved and worthy to work at the highest level possible in terms of craft and working with very gifted people and trying to be excellent in everything.
My middle name really is perseverance. I've always believed that I had talent, even when I felt like a very inferior sort of person, which I spent a lot of time living my life feeling that I wasn't worthy. But even then I knew that I had something special, and maybe that's what it takes. Maybe people need to have that kind of particular core driving them. But I felt I had talent.
With Rodham, for instance, it has to work on an emotional level. It has to work on a character level. If it's only "Look, it has famous people," then it's a wax museum come to life and that's really boring. It's sort of like what they say about science fiction and horror where the really good ones, if you remove that element of it, it still has to work. That's the reason The Shining works or Rosemary's Baby or Blade Runner.
Too often, if you look back through the history of representation and you take the work of African-American artists, the work is on such a modest scale that it becomes sort of inconsequential.
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