It's always good to play New York. The Apollo is a great gig. I loved that.
I've liked the Yankees since I was a kid. I grew up in Canada so I kind of identified with New York sports teams.
I ended up training only for four years before I was accepted into American Ballet Theater in New York City.
But if I did read, say, [Maurice] Merleau-Ponty, for instance, it always seemed to me that the parts that I understood in what he was talking about - and I read him because - well, he wrote a book, well, the Phenomenology of Perception [New York: Humanities Press, 1962]. And it seemed to me that perception had a lot do with how we take in art.
Generally in New York, people just walk over you with no problem about that. Other countries, people want to resuscitate you, like, after a bit.
Donald Trump is not stupid. He knows exactly what he's saying. And he's just saying out there - I mean, forget about Muslims. He said I could go down on Fifth Avenue in New York and shoot someone in the face and people - and the voters will have no problem with it. This transcends any kind of religion and any kind of belief. This is actually an offense and attack on human values. He's just saying out there I will shoot people in the face and people wouldn't care.
When I came to New York, it was cheap!
The housing crisis may not be the worst thing that's happened to New York City because it was becoming impossible for some of the young doctors, for some of the young artists, for some of the people that make the city so special to be able to live here.
There's a great variety of people in Washington, but I think because of the great concentration of people in New York, that variety is more visible. You walk the streets and there are people of every color, shape and size, ethnic background, religion, it doesn't matter. It's always present.
The idea of the book ["The Japanese Lover"] came in a conversation that I had with a friend walking in the streets of New York. We were talking about our mothers, and I was telling her how old my mother was, and she was telling me about her mother. Her mother was Jewish, and she said that she was in a retirement home and that she had had a friend for 40 years that was a Japanese gardener. This person had been very important in my friend's upbringing.
I spent three years researching American Rose, research that included connecting with Gypsy's sister, the late actress June Havoc (I was the last person to interview her) and Gypsy's son, and also spending countless hours immersed in Gypsy's expansive archives at the New York Public Library. I became obsessed with figuring out the person behind the persona.
We were friends with Jonathan Demme. We were all down on the West Side of New York, and I think I met Kurt Vonnegut through Edith Demme. And then I was lucky to do Who Am I This Time? 1982, which was an adaptation of his short story that Jonathan Demme directed with Chris Walken and I, and that really cemented the friendship.
My relationship to New York has changed a lot. I feel lucky to live here. A lot of times you walk through the city and don't notice that you're in a really beautiful neighborhood, or that you're passing a beautiful building. It's nice, as an exercise, to keep aware that you're in a really lucky place.
Kati with an I was a New York Times Critics' Pick and I was really happy that it got a run uptown in Harlem at the Maysles Cinema, which is a great space but isn't necessarily the most well attended for a week-long screening.
It was sort of in the jam-band era and it was at the Capitol Theatre in Port Chester [New York], right where I grew up. I actually went back there a couple years ago when I was on tour for Kroll Show. I performed at that theater, which was really cool to go back to the first place I'd gone to a concert.
Peter Schweizer's book, Clinton Cash, is not discredited. It has been quoted on the front page of the New York Times and the Washington Post.
Ironically, even the fashion in New York or Paris or Milan or whatever, or music in Berlin, or art in, I don't know, Madrid - all these scenes come and go. Everything leads back to Hollywood.
I was raised in New York and spent two years in Rio. My parents met at the University of Southern Mississippi, and they had me there, and then we moved to New York. I'm not very familiar with Mississippi.
In New York, it's a little bit more formal, a little bit more decorated, and there's a real appreciation for traditional style. Out here, it's casual, fresh, new, and almost humble.
The New York Times made you or broke you.
Sometimes I just play the theme from Arthur. It reminds me of my childhood in New York and I just love it.
A lot of writers choose to live in New York, partly because of the literary culture here, and partly because Brooklyn's a pretty nice place to live. And a lot of writers who might not geographically reside in New York still point their ambitions towards New York in some sense.
Journeys become very good metaphors. They always have the character put into circumstances that reveal him. If I had based my characters in New York and had them just sitting and thinking about life, it would be like what contemporary U.S. fiction is about. That is very heavy, literally, for me. It doesn't become mainstream enough because the pages don't turn themselves.
The idea for Anthem the play began over twenty years ago. I was assisting in the production of another Ayn Rand work, Ideal. I moved to New York and began working on producing the play with my partners. And as a way to raise money to cover some venture debt, we decided to stage Anthem for a limited run at the Lex Theatre in Hollywood.
Each day, I read the New York Times before leaving for the theater. And I have this standing assignment: connect the world of Anthem to the late breaking events of the day.
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