Quotes of All Topics . Occasions . Authors
When you go to the big city - you're in New York, Boston, you're in L.A. - you walk in the streets, and nobody says anything to you. It becomes so impersonal because there's so many people.
There are a lot of very good New York novels, but there's no single all-encompassing novel, the way you could look at any number of Dickens books and say we know London as a result of that.
For a while, I thought, maybe I should direct, until I got to New York and saw the stupidity of that idea. If it's hard to get into acting, what is it like for a woman to become a director?
For the first year I lived in New York, I never ate out. I literally just ate lentils and brown rice at home. Sometimes I'd treat myself to this half chicken from Chinatown that cost $3.50.
In South Africa, success never presented the problems that it presents in New York. In New York, if you happen to be the flavor of the month, a lot of nonsense comes with it into your life.
Biggie was the King Of New York as a rapper. There's a lot more dangerous guys than Biggie Smalls out there, you know what I'm saying? John Gotti was way closer to King Of New York than him.
I don't go to New York. I don't go to parties. I just do my business and study nature. My career is 28 years in an obscure art school, with limited staff and no perks. All I am is a teacher.
I've always been into 1939 and the New York World's Fair. And I lived on 39th Street and on the 39th floor. Once you pick a number that means something to you, then you notice it everywhere.
When I was at Lakeridge High School, in my junior and senior years, my choir and theater department raised money so we could go to New York and see Broadway shows. It really changed my life.
Once, when I was playing a nude scene in an indifferent play in New York, a critic wrote, 'Diana Rigg is built like a brick basilica with too few flying buttresses.' Do you think that's fair?
I went to a foreign land, New York City in 1982 and had no money, no respect in the gym. Everyone thinks you're full of it. The remit in those days was break his heart, get him out of the gym.
I am writing about people who are alive in the city of New York during mid-20th-century America. And these people are like a character in a play or they are figures in a short story or a novel.
I remember going for the first time to a place called The Roxy in New York because you can see people breakdancing there. That's the only reason I went! It's amazing, kids are still doing that.
After September 11th, nations from across the globe offered their generous assistance to the people of New York. And whenever our friends around the world need our assistance, New York is there.
I grew up in a semi-attached row house in Queens in New York. And my family and my grandparents and my father's from Brooklyn, and so you're essentially an outer boroughs kid, you're growing up.
When I was doing 'Spring Awakening' the first couple of years I was living in New York, I was gay, and I was living with my 'roommate,' who was my boyfriend but was my roommate to everyone else.
I don't want to leave New York and leave my family. I don't like the distance. I just did a movie in California and it's kind of excruciating to be away from them so I think there is that sense.
Years ago I wanted to buy an apartment in New York City. I was a single female - I had gone through my divorce - I had three children, I was in show business and black. It was, like, impossible.
If you started in New York you were dealing with the biggest guys in the world. You're dealing with Charlie Parker and all the big bands and everything. We got more experience working in Seattle.
New York is one of the greatest cities in the world. It is a fitting host to its many international visitors, who can come to witness first-hand what a vibrant multicultural democracy looks like.
The only time I would like to see was the 20s and 30s in America because I love the music and the style and the optimism, I wanted to see New York being built. I wanted to see all that, you know.
I get up at 7:30. I grab a canvas bag and go out. I say hello to the people in the supermarket and liquor store. I buy the 'New York Times.' I go to the beach and think about characters and plot.
My mother came from an Irish family of 11 kids and, of course, had a sister who was a nun, so I spent time at a convent and with an aunt and uncle who lived in New York and took me to the theater.
I think me leaving Detroit shaped my style. Me leaving, going to New York, going to L.A. and seeing what they were doing there. I think that inspired me more than what people were doing back home.
For me it's very important to turn Kiev into one of the main centers of contemporary art in the world. There is New York. There's London. And there will be Kiev. Everyone will come and say, 'Wow!'
L.A., it's nice, but I think of sunshine and people on rollerblades eating sushi. New York, I think of nighttime, I think of Times Square and Broadway and nightlife and the city that never sleeps.
My favorite musical? I don't. It changes all the time. I'm just a diehard, I'm totally old school, like I'll sit and watch, if they are re-doing Oklahoma in New York, I will be the first one there.
When I worked at my father's deli in Carmel, New York when I was young, my experience waiting on customers and interacting with people all day taught me so many social skills and helped me open up.
People don't talk about small-town racism in Illinois or upstate New York. They're like, 'It's the South.' And it is. It's there. But it's everywhere. But everywhere, there are also amazing people.
The world needs real-world universities, 'doer' universities. We're going to set up one model of it in Ladakh. And if it is successful, we hope it'll have a ripple effect from New Delhi to New York.
London is the most commercially important city in Europe, and it's the most populous city. It should be for the whole of the European continent what New York is to America. That's what it should be.
When a New York attorney general brings a lawsuit against a prominent business person, there are two things you can count on out of that office - lots of political bluster and little accountability.
Man, me and Biggie were the biggest artists in New York. When he passed, I was so messed up. My attitude was messed up about him dying. There was an East-West thing back then, and I was in war mode.
Not even the most powerful organs of the press, including Time, Newsweek, and The New York Times, can discover a new artist or certify his work and make it stick. They can only bring you the scores.
I want you to feel happy and enjoy the theatre of my life the way that I do. No matter what happens with my music and wherever I go - that heart of that glamorous girl in New York will never be gone.
When I was a very little boy, I lived underneath the air pattern of LaGuardia airport in New York and I watched the planes fly to their destinations. I was in love with the design of these airplanes.
At 25, I found myself anchoring coverage of President Clinton's impeachment trial from Capitol Hill for WTVH-TV in my hometown of Syracuse, New York. I then covered Hillary Clinton's first Senate run.
Hip-hop originated from the Bronx specifically; that means everything. I'm down the block from where hip-hop was born and raised, so I'm glad I am here and I'm able to represent New York the way I am.
One of the things about New York City is obviously it's a very liberal place but there are plenty of conservatives that don't feel particularly well represented by Chuck Schumer or Kirsten Gillibrand.
We had three cows and a goat. People from New York and L.A. are like, 'Oh my gosh, that's a farm!' But people in Tennessee are like, 'That's not a farm.' I've never milked a cow or anything like that.
Instead of putting Americans to work, the Teamsters have been busy yanking members off projects and idling construction projects from California to Indiana to New York in order to shake down employers.
I started writing this feature comedy in New York - a Chris Farley vehicle. The script was decent. When I got to LA, I met some new friends in film school and had them read my script and give me notes.
When I was in New York after I left the Army, I studied for two years at the American Theater Wing, studied acting, which involved dance and fencing and speech classes and history of theater, all that.
I did nine months in 'Mrs. Klein' in New York, then four months on the road. Then I did a movie directed by Philip Haas, who did 'Angels & Insects'. We shot 'The Blood Oranges' in Mexico for six weeks.
Had my grandparents not emigrated when they did, I might have been born Jewish in Eastern Europe during World War II, or I might not have been born at all. Instead, I was born in 1942 in New York City.
When I was 27 years old, I left a very demanding job in management consulting for a job that was even more demanding: teaching. I went to teach seventh graders math in the New York City public schools.
While researching 'The Submission,' I went to a protest against the Ground Zero mosque in New York when I was about to give birth to twins. It was about 100 degrees. People thought I was very dedicated.
I grew up with 'The Denver Post' and the 'Golden Transcript.' There was never a moment that I thought I'd work at the 'New York Times.' My goal, starting out, was just to see if I could be a journalist.
My mom would drive me from Cleveland to New York City and use my dad's hotel points for auditions. They were the most supportive parents that I could have. Without them, I wouldn't have gotten anywhere.
My youth held little forecast of a career in biomedical research. I was born on February 22, 1936, in York, Pennsylvania, and spent my childhood in a rural area on the west bank of the Susquehanna River.