New York Quotes - Page 95

There's a vegan and gluten-free bakery called BabyCakes that I love. They've got shops in New York and Los Angeles. Their stuff is amazing.

Most actors and actresses are performative as people. It goes part and parcel with the profession and New York actors who are out of work, or actors anywhere out of work, are manic because you never know when the next job is going to come.

I'm a New Yorker; I've paid my dues.

In New York you can just walk out and be among people. You're on the subway among people, you go to cafes, you can talk to people.

Public education is so important - resisting privatization and charterization, high-stakes testing, and defunding. It's important for New York, but it's also important for the country.

What happens in New York affects national policy in very significant ways.

I wanted individuals who were clearly themselves and I just got to put some clothes on them, but they basically came "done," you know? How they feel comfortable. I just wanted them to walk down the streets of New York and I said, "You know what? Don't even pose, just walk and we'll take pictures."

New York's the place where you can have a private life. You can do anything, be anything you please. New Yorkers mind their own business. Police cars, ambulances, fire engines - nobody even turns around for them. We go to the movies for excitement.

Honestly, people told me to. It was weird, I graduated from school, I never thought I'd live in L.A. and I always wanted to be to New York. I assumed that would be my trajectory - that romantic ideal of moving there and doing plays Off-Broadway and being scrappy about it. Then we did a showcase in New York and a showcase in L.A., and for whatever reason the response that I generated in L.A. was significantly more enthusiastic.

We did monologues and scenes, and New York I did a scene from Amadeus and a monologue from Pounding Nails in the Floor With My Forehead by Eric Bogosian, and then in L.A. I switched the scene to This is Our Youth and did the same monologue. I was spiky-haired, super skinny. A lot of people were like, "You should come here and do a sitcom." That was the feedback that I got. Obviously it was quite a different journey than the one I've actually had, but I just listened to people.

Who's to say what would have happened if I had trusted my instincts and moved to New York like I thought I would.

My return to the theater in New York was so specific. I didn't want it to be about leveraging my exposure or my fame, so the first show I did in New York was an ensemble piece at an Off-Broadway theater, and I wanted to make sure that it was just about the play and about the experience.

The play I did on Broadway a couple of seasons ago started out of town and it moved its way into New York because of the experience that we had out of town.

Every time I get on an airplane I have a routine. I cover the inside of my nostrils with anti-bacterial ointment. I'm popping Zicam like it's candy. And I drink, literally, from L.A. to New York, six bottles of water.

I thought I was going to be a theater actor. I moved to New York after college and did some plays and worked a lot. Once the realities of living as a theatrical actor hit me, I realized I wanted to start making a little bit of money and not have to bartend and work in theater.

I did theater for a few years while I was in New York, but it was tough having to perform scripts worse than what I knew I could write.

I'm hanging out with my New York friends, my Jersey boys, my family and loving every single second of it.

There is no reason for me to show my collection in New York, because it's not about craft and technique there.

I'm from Hollywood, I'm too dumb to be nervous about New York.

I was born in the Chi fo sho' and raised there till I was like 15. I then went on the road with X [DMX] and then moved to New York. I've moved to L.A. since then. I really have been bouncing around since 15.

What the hell is wrong with him now?

On 11 September, I was living in Greenwich Village, New York; my children learned to tell south from north by looking at the World Trade Center.

When I first came to New York everybody on the scene would treat me like I could play but I couldn't.

I didn't have a philosophical understanding of music until I came to New York. I didn't understand how it applied to my kind and my generation. I thought it was just old people talking.

I had to figure out how to survive in New York, and most of my time was occupied in getting an apartment and getting money. A lot of older jazz guys looked out for me and found me gigs and places to stay.