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Quote by Louis Farrakhan

“Obama has some manacles, and that might limit him. However, he's the first American president to raise $600 million for his campaign. That frees him from lobbyists; it frees him from special interests, and it could free him from those who would manipulate him. If he is going to solve the problem, he has to be free enough to solve the problem between the Israelis and the Palestinians.”

Quote by Louis Farrakhan

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Louis Farrakhan
Louis Farrakhan

Louis Farrakhan is an American political leader born on May 11, 1933. He is a prominent civil rights activist and Muslim leader, known for his significant influence in the African American community. more

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“I suppose our lives need to be more integrated. We have white communities and black communities and white country clubs and black country clubs. It's very important when we integrate ourselves, and it helps us to have a better understanding of the world, to people all over the world and this is the time in history that we have become very aware of how important that is, so I think it's just really-we have to know each other and work together and play together in order to write about each other.”

“The lesson that I would hope everyone would learn quite early in their career is don't take it personally. Whatever it is that happens, you're accepted for a role or rejected for a role of whatever, don't take it personally. It's part of the business and the person that is either hiring or firing-that's their business. That's what they are there for and it has nothing to do with how you feel about ... It has to do with someone else's perception of should you do this particular part, so just don't take it personally,. The business is really about rejection, so don't take it personally.”

“What I do usually is read the book first, for pleasure, to see if my brain starts connecting with it, as a movie. And then, if I say yes, I read it again, only this time I take a pen and, inside the book, I say, "Okay, this is a scene. I don't need this. I'm going to try this. I'm not going to take this." And then, I use that book like a bible and each chapter heading, I write a menu of what's in that chapter, in case I ever need to reference it. And then, I start to outline and write it. I get in there and it starts to evolve, based on having re-read it again.”

“You want to have the experience. As far as the creative side, the more I do this, the more I know that it's all about the writing. You got on a film sometimes and it's sort of half-written, and they expect and think that the actor's job is to bring the extra part and the good part. It's not. We're good at saying what other people have written, but for the majority of it, that's about it, comedians aside. It's all in the writing. Whether that's dialogue or character, or whatever, it doesn't matter. As long as they've done something special, than you can do something special.”

“My introduction into making records was through a sampler, and that's what I did for a long time. And through doing that over a period of time and kind of coming out of it, I've realized that one of the reasons it works so well for me, one of the reasons psychologically I took to the process so well, was because I'm a problem-solver by nature. If you stick me in a void, I don't do so hot. As soon as there's one little thing to spark an idea, and then I have something to bounce off of - then I'm all right. But until I have that, like in that void, it's kind of hard.”

“The fun part, I will admit this much, there is a period when listening to my music is fun, and that's when I'm making it. There's a tiny little window before something gets old, but after it's come to fruition. There's a little window there where I can listen to a song probably about five times, and I'll really think it's awesome. That's kind of the period that lets me know when I - 99 percent of the time, that period is right about whether a song is going to be a keeper for an album or just a throwaway track that never gets - in that little window.”

“Some cultures don't have a separate word for music and dance. To my knowledge, this notion of listening to music without dancing is a Western creation. I can't think of any artist that I love that doesn't inspire movement in some form or another. I guess Tangerine Dream or early Vangelis or something like that, you're not really going to dance. But on the whole, I feel like dancing and music are so naturally intertwined. I feel like subconsciously, that's the goal whenever I'm working on music. It's kind of the defining thing: Does it got some funk to it, basically?”

“Audiences are very sophisticated and they know the nuts and bolts of the genre - certainly with horror more than others I think. But they attract lots of people, they're much derided as a genre but people go and see them and they're not all dumb. There's some very clever horror films. Stephen King gets a lot of flack for not being a proper writer because he's a horror writer, but I think he writes some brilliant books. I think it's wrong to just bin it before looking at it.”

“Live theatre is great. I loved doing the League live because you get that element of spontaneity, but then when I'm doing live I start to crave the precision of filming. It's a different discipline; it's like a scalpel and you're very precise suddenly. It's scary as well because you think this is it, this is my one go at making it if I can the best it can be, because this is how it's going to be remembered and rendered and left on this film indelibly. And people are going to look back on this and that's that.”