New York Quotes
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I go out in New York, and I think, boy, you can look at someone and pretty much determine their zip code. Everyone seems to want to conform. I wonder, are they all just button-pressers, on the Internet all day long? I don't know.
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All the essentials of humanity's artistic treasures can be found in New York.
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I used to never miss the 'New Yorker' or 'New York.' Now I never bother.
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New York blends the gift of privacy with the excitement of participation; and better than most dense communities it succeeds in insulating the individual (if he wants it, and almost everybody wants or needs it) against all enormous and violent and wonderful events that are taking place every minute.
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I was never much of a club guy. Even when I was in New York in the early eighties, I never was once in Studio 54. It was too noisy. My version of those years mostly took place at my house.
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I don't want my music to stay New York, I want it to be everywhere.
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I did a comparison of a school of architects known as the New York Five. I compared their articulation of wall surfaces, which I enjoyed very much.
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On the screen were some flashback shots of Daniel, Emma and Rupert from ten years ago. They were 12. I have also recently returned from New York, and while I was there, I saw Daniel singing and dancing (brilliantly) on Broadway. A lifetime seems to have passed in minutes.
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As a kid, my dad would take me to see indie films when I would visit him in New York. Films that I just wouldn't see growing up in the Bay Area.
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I'm a New York girl. I want to stay here and raise my son here.
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I miss the city Bret and I live in, Wellington. It's a good place to be creative, in the same way New York is.
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The Beethoven Experience provided the opportunity to solidify the relationship between the Orchestra and me, the Orchestra and me and the public, between all of us and the city of New York, because Beethoven after all is a really amazing point of reference.
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I'm trying to create a body of work that sort of represents something, and has something to say. Hopefully, I'll have a career that, 20 years from now, I'll look back and I'll have told the world about a slice of New York that they wouldn't have known about.
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There were only two things you did in New York City, Queens to be exact, music or sports.
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My life there[in New York] was almost entirely about gay men for 30 years.
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I was always drawn toward the Actor's Studio. I studied at the Lee Strasberg Institute when I first came to New York. One of my favorite teachers was one of Al [Pachino]'s teachers, a guy named Charlie Laughton, who was just a wonderful, wonderful man.
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The two cities I've found very hard to leave in my life were New York and Buenos Aires.
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That's what New York is like - you can't have real art happen in an institution because rich people can make the world stop. The stuff on the street is a lot more interesting.
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When I moved to New York a year and a half ago, I feel like I really was able to access my sense of humor and personality through my work for maybe the first time. The city has a really nurturing, positive kind of reinforcement...for young artists. Nothing is considered weird. Nothing is frowned upon. It's sort of a free-for-all in terms of experimentation, and I think that's a really great environment for someone who wants to work in a multimedia modality.
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I have a Brazilian trainer here in New York and we do a Brazilian Butt Lift workout.
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I guess the best way to describe that would be to connect with the fact that I came out of college just before the big Depression, and I came to New York.
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When I came to New York, it was cheap!
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I'm a neurotic New York Jew by birth. Creating characters is second nature to me.
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I was so urban-centric once. I did not want to see a patch of grass. I did not want to look at a tree. I didn't want to be anywhere near a sparrow, or a squirrel, or a pigeon, because I just wanted to be consumed by the asphalt-jungle aspect of New York.
