My first interview at SI, I sat in silence next to Guy LaFleur for five minutes on the New York Rangers team bus until he finally broke the ice. Those early interviews, every one of them was like a terrible first date.
There are so many things I'd like to do. I'd really like to be in a period piece that takes place in old New York or old Hollywood and wear those costumes and that makeup.
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 had been wanting to do a musical for a really long time. I wanted people in New York to know that I can sing.
I have a little gypsy palace here in New York. It's all mirrors, and I have my own garden. It's so secluded - the closest thing to a caravan I could find!
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.
New York is dead. It's too expensive.
When I came to New York, it was cheap!
The United Nations is an uplifting experiment, dedicated to raising the standards of living in Africa , the consciences of democracies, and the price of prostitutes in New York
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.
I was in a Broadway musical called Big Time Buck Wright.The play didn't make it but I was a success. It lasted six days but I sung four songs and there were critics, seriously, in New York who said that my part was perfect. So I can beat Joe Frazier singing.
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.
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.
I've travelled to many states and seen the suffering in people's eyes I've visited communities in New York, New Jersey, Pennsylvania, Connecticut, Indiana and Ohio whose manufacturing jobs have literally disappeared. An embarrassment to our country and it's horrible.
When I lived in New York, there wasn't as much TV or film around. I got asked to do a couple of indie films, just based on me being from The Smashing Pumpkins and A Perfect Circle. I did a couple of indie movies from Japan and one from Canada, and I thought it was an exciting, fun thing to do. I had a great time doing it, it was just that, in New York, there really wasn't as much. My studio in New York closed, so I moved out to L.A. and just started looking into composing as another thing to do, as a musician. I like it a lot. It's fun and it's a different way of thinking about music.
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.
New York is a much younger city that drives culture. In Paris, older women drive the culture - really drive culture.
I don't want to name names because they'd be mad at me if I did, but people who are significant novelists can't get published by real publishers at this point, or have to go through two years of trying after writing a novel that's taken them five or six years and simply can't get the thing in print. Or it gets in print and it doesn't get reviewed in the New York Times Book Review and disappears without a trace. I mean, it's terrifying. I don't know how anybody can stand it. It's such an enormous amount of work and the economics of it are really quite brutal.
Growing up in Atlanta, it brings a particular swagger about a person. There are three or four places in the country where people think of fashion: One is LA, obviously. Another is New York. And I think Atlanta has to be in the top five cities where fashion is very big.
What's right for New York or California, is not necessarily right for Iowa.
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.
Ralph Kramden, as played by Jackie Gleason, was this big bumbling New York City bus driver who was kind of mean and crass and a little bit egotistical. But underneath it all, he was a big heart looking for a place to land I think.
"Entertainers Of Faith," funnyman Jim Gaffigan isn't ashamed of his Catholicism. He's seen here leaving a New York comedy club with his Bible in hand.
Nature; it always inspires me. Living in New York, it can get quite stressful sometimes, so on the weekends, I like to go hiking.
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