New York Quotes - Page 33

He was very supportive of me, ... He saw every single play I did in New York. Ill never forget looking out into the audience and watching my brother, who was 40 years younger than my grandfather, sleeping in his chair during some of my early plays. My grandfather Alex never fell asleep.

He who touches the soil of Manhattan and the pavement of New York, touches, whenever he knows or not, Walt Whitman.

The music rights at the time cost me $12,000 in 1964 money, which is about double now or whatever. But I cleared everything. I had a lawyer in New York. And it was cleared for use in a short subject, not a feature.

I did not go to fashion school. I arrived in New York in 1986 from Kansas City and was working as accessories editor for Mademoiselle Magazine. While working at Mademoiselle I noticed that the market lacked stylish and sensible handbags, so I decided to create my own.

People are attracted to your light because they want it for themselves. It's like fireflies. When we were kids in New York, we would visit my dad and catch fireflies because we were so attracted to their light. Put them in jars next to our bed, and then they'd die. Then we'd go out the next night and get another firefly. That's how people are.

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.

I saw 'Brokeback Mountain' in a packed house in Chelsea, New York, when I was filming a Bollywood film there. Chelsea, being a predominately gay neighbourhood, had the most euphoric reaction. I saw couples holding hands and crying at the end. It was the most heartening viewing I have ever been to.

As a young kid I was in love with breakdancing. I practiced the uprock style, which is a battle style of dance that looks like fighting. It comes from the gangs in New York in the 1960s and '70s. It's beautiful, almost like a martial art, and it can be funny, too, because you make fun of each other.

In a pure anonymous encounter you find a world alive and full of character. In New York, the street adventures are incredible. There are a thousand stories in a single block. You see the stories in people's faces. You hear the songs immediately. Here, in Los Angeles, there are fewer characters because they are all inside automobiles.

Yes, I got my first Bolex camera a few weeks after being dropped in New York by the United Nations Refugee Organization. That was on October 29th, 1949. With my brother Adolfas, we wanted to make a film about displaced persons, how one feels being uprooted from one's home.

New York City isn't Chuck E. Cheese. We don't have ball pits for the kids to play in. We have titty bars and crack.

New York is at once cosmopolitan and parochial, a compendium of sentimental certainties. It is in fact the most sentimental of the world's great cities - in its self-congratulation a kind of San Francisco of the East.

We are growing from a cheerful small town where everyone waves off their front porch to the subway of New York City where everyone rushes by. How do you preserve the culture that has worked so well?

Rooting for the Yankees is like owning a yacht.

'Summer of Love: Art of the Psychedelic Era,' the Whitney Museum's 40th-anniversary trip down counterculture memory lane, provides moments of buzzy fun, but it'll leave you only comfortably numb. For starters, it may be the whitest, straightest, most conservative show seen in a New York museum since psychedelia was new.

The crime problem in New York is getting really serious. The other day the Statue of Liberty had both hands up.

The idea of transformation is super-important to me. You can see it in the way I approach things. I have never been a clean-faced, freshly scrubbed hair person. I'm the New York designer who doesn't do that. I think about the hair and makeup almost as much as I think about the clothes because it all has to work.

I like to think that people can see that and appreciate that idea and then, by some mechanism of wearing the fragrance, sort of carry that idea with them in their own life. Whether it's a weekend in Louisiana or in New York City or in Venice, Italy, or wherever they may be. I think there's something kind of fascinating and powerful about that.

After they see me, when their mothers are feeding them all that cashmere sweater and girdle ----- [expletive deleted by the New York Times], maybe they'll have a second thought - that they can be themselves and win.

New York is the great stone desert.

The greatest number of drug addicts are to be found in Teheran and in Karachi, not in the West. Not in New York believe it or not. It's the same with the roles of slavery, racism and imperialism in the world. These institutions were present in other cultures. However, it was Western civilization which did something about slavery, about racism and voluntarily dissolved its empires leaving behind a very positive legacy of institutions not to mention buildings and roadways.

I am delighted to be here in these new [Council on Foreign Relations] headquarters. I have been often to, I guess, the mother ship in New York City, but it's good to have an outpost of the Council right here down the street from the State Department. We get a lot of advice from the Council, so this will mean I won't have as far to go to be told what we should be doing and how we should think about the future.

New York! The white prisons, the sidewalks swarming with maggots, the breadlines, the opium joints that are built like palaces, the kikes that are there, the lepers, the thugs, and above all, the ennui, the monotony of faces, streets, legs, houses, skyscrapers, meals, posters, jobs, crimes, loves... A whole city erected over a hollow pit of nothingness. Meaningless. Absolute meaningless.

I just saw a girl who said she saw John Lennon walking down the street in New York wearing a button that said, "I love Paul.” She asked him: “Why are you wearing an 'I love Paul' button?”, and he said: “Because I love Paul.

The reason these paintings are destined for New York is not because I am disappointed about a lack of German interest, but because MoMA asked me, and because I consider it to be the best museum in the world.