If I wanted to be famous, I could have been famous before. I mean, I produced a Frank Sinatra special - Elizabeth Taylor, with Michael Jackson, Gregory Peck, I won't even take a picture.
Hillary Clinton has promised to build on President [Barack] Obama's policies. That means build on Obamacare, build on Dodd-Frank, build on the regulations coming out of the EPA. If that's the case, that will not be good for the economy.
Some great experiences I've had and little by little I've come to the realization that everything Frank Zappa told me was the truth, whether I wanted to believe it or not. You know, I was young and naive or in denial. But he really was a special, special human being.
Jon Davis of Korn and Frank Mullen of Suffocation are one of my favorite bands and from that moment, we started a conversation and lead to the song.
The people who taught really knew their stuff. My chemistry teacher, Frank Wade, was actually a chemist. I was so lucky in a number of ways.
Probably the single most commen response I get from my readesr, be it through e-mails or letters, is that they did not know much, or at times, they're quite frank, they didn't care much about Afghanistan. But they pay attention more after reading these novels, and at times it has triggered this humaitarian spirt: some have donated money or at time times, people have joined humatiarian organizations that work in Afghanistan.
My parents, the effect that [Frank Sinatra] had on the Italian community, in terms of all our friends at the house were multicultural. We weren't just Italians. My dad's close friend was a black gentleman - this was back in the early 50s when Tony Bennett was reprimanded for having lunch, when he was in the military, with a black man.
Dodd-Frank and independent actions of banks go a long way in terms of progress on capital, liquidity, transparency, "living wills" (plans for winding down a bank in the event of a collapse) and resolutions.
There are parts [in Dodd-Frank] that I don't agree with. But, in total, it is what it is.
Being that frank and being that open, there's more praise than there is negativity. It's just the negativity gets printed because you're straight and f - ing rude. It's not rude, it's just getting straight to the point.
We differ [with Frank Moore Cross] simply because of our differing backgrounds.
We have a text before us, an ancient text, a living text, and we try to enter it, not only to decipher it, but to penetrate it, to become part of it, similar to the way every student becomes part of a teacher's texture. That's how I see our [with Frank Moore Cross] two differing approaches.
Frank Moore Cross is also a leading Dead Sea Scrolls scholar, which he's been since they were discovered more than 50 years ago. He's just completing an edition of one of the most significant scrolls for Biblical studies, the Book of Samuel from the Dead Sea Scrolls.
I don't think there is any other professional Bible scholar who is more respected and honored [like Frank Moore Cross].
For 35 years, Frank Cross held one of the most prestigious chairs in academia: the Hancock Professor of Hebrew and Other Oriental Languages at Harvard University. I believe that's the third oldest university chair in the country.
Both of you [Elie Wiesel and Frank Moore Cross] are giants, dare I say nephilim [giants; see Genesis 6:4; Numbers 13:33], in your world.
I know that the Bible has been a central influence in [Elie Wiesel and Frank Moore Cross] lives - but in a very different way. In truth, you inhabit very different Biblical worlds.
I wrote [Collateral Beauty] on my own. I didn't get paid to write it. I didn't sell it as a pitch. It was an idea I had that I really, really felt needed to be in script form before showing it to anyone in the industry because of the uniqueness of the idea, and the weirdness of the idea, to be frank.
Frank Sinatra enjoyed my humor, so I could say almost anything to him. I mean, within reason.
I think they [Martin Scorsese, Johnny Carson, Frank Sinatra] liked my honesty. My personality. For that, they always treated me great. I, in turn, treated them great. No secret about it. My being who I am - that is that.
[Barack] Obama isn't pointing to anyone, and certainly doesn't like it when others note (correctly) that his influences were the likes of Saul Alinsky, the Chicagoan and modern founder of community organizing, or Frank Marshall Davis, the communist journalist and agitator from Chicago who mentored Obama in Hawaii in the latter 1970s, and who Obama warmly acknowledges in his memoirs.
For me [ Giovanni Lorenzo ] Bernini, [Francesco ] Borromini, and [Donato] Bramante have been as significant as Alvar Aalto, Frank Lloyd Wright, Le Corbusier, and Louis Kahn. I still marvel at their works, which have a quality and a timelessness that I seek to have in our projects.
That's what [Frank] Sinatra did. He was the first artist to come out in a major way against anti-Semitism and racial bigotry. And those are huge things back in the 50s and 60s and 70s - and he was doing this in the 40s.
His [Frank Sinatra] voice defined not only a certain period of time, but America and what America meant to the world. Sinatra grew up, as my grandparents did, when being Italian was very, very prejudice against, but they didn't let it bring them down or use it as an excuse.
An unnoticed corner of the world suddenly becomes noticed, and when you notice something clearly and see it vividly, it becomes sacred. (On Robert Frank's photography)
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