New York Quotes - Page 49

When I was in New York it was like a maze, a rat maze, going from one little box to another little box and passing through passageways to get from one safe haven to another.

In New York, after that famous home run, they expected me to be up there every year. That homer raised me to a high level, with the top guys in the game.

Krush Groove was a movie at the time. That was my first break. I just got to New York. I was right out of college and I was happy to have a job.

I was drawn to boxing because I got beat up as a kid. I was the kid with the piano books in a New York neighbourhood.

In New York now, they have Harvey Milk High School for gay students. They don't have much of a football team, but the half-time show . . .

In the middle 1940s... I heard everyone live. Painting, the theater; everything was happening. It was an exciting time when New York was the place to be.

It's an odd thing to go to New York to shoot a movie that is set in Indiana.

It's easier to record in LA than in New York and Detroit, because the space in LA is green, and there's sunshine, and I need all those positive vibes.

Once we decided to do a tower in New York, it had to say something about our group, reflecting the mix of modernity and creativity in our organization. It's a symbol.

When I first arrived (in New York), it seemed to me the most terrifying city in the world... all those big buildings. I remember walking on Broadway, looking up at this huge, mountainous place-and being so lonely. But things started to clear up when I met a few people on the street whom I'd met before-all of a sudden there got to be a certain familiarity about the place, and the terror kind of evaporated. There was a lot of playing going on, and the New Yorkers, of course, were a completely different crowd from what I'd known.

I think it is all about creating characters, mixing them up with the stars and the light-years, and coming back to Earth, because we're from this universe. We're not just New York or London; we're stars.

I love New York. I was sad, depressed and incredibly moved by our fellow countrymen and what they've done. I wanted to give people a chance to see something funny, have a distraction.

I was staying on [writer/director/actor] Eric Schaeffer's couch in New York, and he said, "I've got this movie [If Lucy Fell]. Can you do five days on it?" And I was like, "Yeah, anything. Twenty-four hours times five is 120 hours. Oh, great, I'll fill 120 hours of my life with something." So I did that and it was fun, and then I did Flirting with Disaster.

I think I'm telling the truth. I sat by Ray Perkins at the Hall of Fame dinner in New York, and at that time he didn't know he was our coach and I didn't either.

New York is a galaxy of adventure at once elegant, exciting and bizarre. It's a city that moves so fast, it takes energy just to stand still.

New York was where we wanted to live when we were finally grown up, and drink martinis and stay out past bedtime.

People in France are very intrusive when they recognize you. In New York, they are very polite, with quick words, so it's great.

There are lesbians, God knows... if you came up through lesbian circles in the forties and fifties in New York... who were not feminist and would not call themselves feminists.

I'm the end of the line; absurd and appalling as it may seem, serious New York theater has died in my lifetime.

As soon as I moved to New York, I experienced Hurricane Irene and then Hurricane Sandy hit me in quite a big way. I had 12 days without any electricity or any water. The thing that I realized the most from it was that we've become so dependent on technology. There's so much accessibility to information that suddenly when everything is cut off, you're completely lost, and you start asking deeper and more profound questions - how short life is, and how grateful we should be for things.

No other American city is so intensely American as New York.

I remember coming to New York, in 1974 to do a play here called Equis. And I remember the first morning getting up and walking around the streets and I thought, "I'm home." I felt really at peace here.

I think of my father growing up in South Jersey, the son of second-generation German immigrant glassblowers. The opportunities for him of feeling that aspiration, that yearning, get out of the small town, connect to a larger world, get yourself to New York, wanting to play the piano at every opportunity, bonding with people who were on a similar path, ending up in Provincetown, which was kind of nexus for nonconformity, and artistic dropout reality.

My feeling about growing up in New Jersey was, 'How come I'm not in New York?' That being said, I'm older and I have a better worldview now, and so I think I grew up in an incredibly privileged position. The town I grew up in is beautiful. I got a great education, and I'm very grateful for it.

When I lived in New York, not only did I have safety locks on the door but I had the music going, keeping the city at a distance, trying to find creative time and peace and so forth.