A Quote by Chris Grayling

We're ending the situation where any old thug can turn up and work as a bailiff. — © Chris Grayling
We're ending the situation where any old thug can turn up and work as a bailiff.
You can pour holy oil and holy water on a thug until you have emptied buckets of both; but at the end he will be a consecrated thug, but a thug all the same unless interior intentions and a disciplined man are present.
It's always easiest for me as a writer if I know I have a great ending. It can make everything else work. If you don't have a good ending, it's the hardest things in the world to come up with one. I always loved the ending of 'The Kite Runner,' and the scenes that are most faithful to the book are the last few scenes.
I'm a thug. And my thug comes from... my definition of thug comes from half of the street element. Straight street hustling.
As a biographer, I try to uncover the adventures and personalities behind each character I research. Once my character and I have reached an understanding, then I begin the detective work reading old books, old letters, old newspapers, and visiting the places where my subject lived. Often I turn up surprises, and of course, I pass them on.
A good plan today is better than a perfect plan tomorrow. Don't wait for an inspired ending to come to mind. Work your way to the ending and see what comes up.
I always said that if I could just find a guy who could chop wood and had a nice smile, it wouldn't bother me if he was a thug or an aristocrat, as long as he was a good guy. And I've ended up with an educated thug.
While it is true that commercial art is always in danger of ending up as a prostitute, it is equally true that noncommercial art is always in danger of ending up as an old maid.
A thug is what I want and a thug is what I need. And my friends don't understand, and I think it's jealousy.
I was growing up with a single mom who'd be at work when I came home from school. So I'd just turn on the TV. I grew up watching old Clint Eastwood westerns. I adopted him as one of my male role models.
war is a thug's game. The thug strikes first and harder. He doesn't go by rules and he isn't afraid of hurting people.
Hard work spotlights the character of people: some turn up their sleeves, some turn up their noses, and some don't turn up at all.
A big part of making an album is that you want to have enough material - you want to have enough stuff for people to hear and know that it represents you. So it does sometimes turn into a situation where you're saying to the person you're working with, "Well, what do you want?" But then there are other times when I work with people and they'll turn to me and say, "How do you want to do this?" And that's actually when I work best.
I want to expand the question of when something is done. I want to vex the ending. I want to mess around with that. I like the idea that if you make a work that has no clear ending, then you must play with the ending. Because if you don't, you're not highlighting the weird, lovely openness of abstraction.
Not that I wouldn't have been equally happy to see the old buddies and see it all start up again that way. But this was more of a work situation, and a very good one.
It is a tough choice between ending up in the cold or ending up in a fiery blast.
The reason why I moved from Young Thug to Jeffery was because I felt like I did a wrong turn.
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