I'm not an idiot: I know that I can sing and I know that I can act.
I'm a version of the same person.
I think my movie addresses the struggles of communities facing class distinctions, which are timeless. The questions of how we live together and what we do for money are really the stuff of drama.
I'm someone who can create critiques of individuals based on their economic history. That's one way I look at people in terms of one story that could be told purely in a Marxist construction.
I tend not to think that anything I happen to be reporting on in my films is special. Meaning that people are always saying to me, 'you must love New York, you have it in all your films. ' But mostly it's because I know New York, and I know Brooklyn at this time. I know the lives there, because I have lived in them.
When working on and writing a film, I'm often more of a sponge than other times, aware of what's going on around me.
To come to change, there had to be conflict and pain.
We've been trying to sell cyclists of all ages and abilities on very detailed and demanding education and training programs designed to make them more like motorists. Bicyclists have shown they don't want this. What cyclists repeatedly tell us they do want is more safe places to ride, and it is time we listened to that message.
Sean Connery wasn't the Scottish James Bond and Daniel Craig wasn't the blue-eyed James Bond. So if I played him, I don't want to be called the black James Bond.
You run the risk of falling on your face, but, again, music is an individual pursuit - it is made to please yourself first.
Out of our beliefs are born deeds; out of our deeds we form habits; out of our habits grows our character; and on our character we build our destiny.