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Sidney Poitier
Oscar for Best Actor
It was pretty much how I am. And what it meant to me to receive the award for it, it meant a great deal to me. It was the first time for an African American. I thoroughly, thoroughly enjoyed the experience, because what he was doing -- the character mind you -- what he was doing was exhibiting a vast sense of himself, and the wonders of being alive, and the wonders of being a human being, and the responsibilities of a human being. And here he is vortexing with some of the most loveable characters. And for that I got an award.
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Colin Powell
Former Secretary of State, United States of America
Colin Powell: It was only once I was in college, about six months into college when I found something that I liked, and that was ROTC, Reserve Officer Training Corps in the military. And I not only liked it, but I was pretty good at it. That's what you really have to look for in life, something that you like, and something that you think you're pretty good at. And if you can put those two things together, then you're on the right track, and just drive on.
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Colin Powell
Former Secretary of State, United States of America
Colin Powell: When I got orders to Vietnam in the summer of 1962 I was excited and very happy. I'd been selected by my government to go to a combat zone and to serve a purpose that was noble. And we were fighting communism and we were going to try to help the South Vietnamese protect themselves from communism and defend their way of life, let them make their own choice as to how they should be governed. And so, it was a very noble undertaking and it was wrapped in the mystique of the Kennedy era. And I was one of the first group of advisors, actually the second group of advisors to go in, about 15,000 of us at that time. And so, for a young 25 year-old infantry captain this was it, this was the thing to do.
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Harold Prince
Broadway Producer and Director
The next time around, they had broken up. Tim was working on Chess, and Andrew wanted to do Phantom of the Opera. I was sitting in a restaurant, and he was sitting at the next table with Sarah Brightman, to whom he was then married, and he said, "Come over and have coffee," and he said, "I am thinking of Phantom of the Opera as a musical. What do you think?," and I said, "It is the perfect time for a romantic musical. Perfect. There hasn't been a romantic musical in years, and that's what I would like to see." That's often a criterion. I very often do what I wish I could see when I went to the theater. So it is sort of make your own theater really, and I signed on immediately, and we spent the next two years working on it. I spent a lot of flights back and forth to London. The scenery itself took nine flights there, and about three for (designer) Maria Bjornson. It needed to take an audience where an audience probably could not remember being, but it needed to take them back to being me, seeing Orson Welles at the age of eight in Julius Caesar. You needed to go in there and say, "I've just lost all my problems," all the years of patina that have developed, and crust, and just be in this other world, and insofar as it does that, it seems to have succeeded in its objective.
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