A Quote by Sam Childers

Because the nights bring the threat of invasion and terror to the villages, thousands of children in northern Uganda have become night commuters, leaving the nightmare of capture behind for the safety of the city.
Leaving behind nights of terror and fear, I rise. Into a daybreak that's wondrously clear, I rise.
Northern Uganda presents a situation of extraordinary violation of the rights of children.
Society has provided [children] no rituals by which they become members of the tribe, of the community. All children need to be twice born, to learn to function rationally in the present world, leaving childhood behind.
Ford is leaving. You see that, their small car division leaving. Thousands of jobs leaving Michigan, leaving Ohio. They're all leaving. And we can't allow it to happen anymore.
It was as if this night were only one of thousands of nights, world without end, night curving into night to make a great arching line of which I couldn’t see the end, a night in which I roamed alone under cold, mindless stars.
Out of the huts of history's shame I rise Up from a past that's rooted in pain I rise I'm a black ocean, leaping and wide, Welling and swelling I bear in the tide. Leaving behind nights of terror and fear I rise Into a daybreak that's wondrously clear I rise Bringing the gifts that my ancestors gave, I am the dream and the hope of the slave. I rise I rise I rise.
The fact is, our men and women in uniform, the bravest in the world, did everything they could to protect this country from a terror threat and to protect others from the terror threat that was Saddam Hussein. And nobody can deny that we are in a better place because Saddam Hussein is dead.
Shore up the mean with reverence and terror. But never banish terror from the gates of the state. The stronger the fear, the stronger the reverence for the just, the stronger your country's wall and the city's safety.
It is standard practice for corrupt leaders who are seeking a certain political outcome to hype or manipulate a terror threat or a threat of violent domestic subversion. While sometimes the threat is manufactured, frequently the hyped threat is based on a real danger.
Have you noticed ... there is never any third act in a nightmare? They bring you to a climax of terror and then leave you there. They are the work of poor dramatists.
My nights are a nightmare, quite often, but the nightmares are rich. I nourish myself by those nights.
In communities all over the country, commuters put up with heavy traffic and aging transit systems because they don't really have a choice. People need to get to work, bring their children to day care or school, care for an aging parent or simply attend to a few errands.
Like the panic stricken populace of 'The War of the Worlds' and countless other 1950s invasion movies, the victims are there to provide the human ground over which monster and expert, threat and defender, disordering and ordering impulses can battle it out. Second-class citizens of the genre, they are narratively indispensable because physically entirely disposable. We are only really involved with them in the momentary tension of their capture or demise.
We should not be playing politics with the security and safety of our commuters.
For if we are observed in all matters, we are constantly under threat of correction, judgment, criticism, even plagiarism of our own uniqueness. We become children, fettered under watchful eyes, constantly fearful that-either now or in the uncertain future-patterns we leave behind will be brought back to implicate us, by whatever authority has now become focused upon our once-private and innocent acts. We lose our individuality, because everything we do is observable and recordable.
Trying to understand, inside, what it is to be Ugandan was crucial to the character, because there are Ugandan ways of doing things that I was trying to capture. Even if I had made this movie in South Africa, it would not have been the same, because it is so specific to Uganda.
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