I live in New York. I have an amazing apartment over there; I have this amazing life over there that's full of glamour. I get treated like a queen over there - and that's one of the reasons I love coming home. It's very grounding.
I love biographies. I read Patti Smith's 'Just Kids.' I'm into that time frame in New York, the '70s and '80s. In art school, I read 'Close to the Knives,' the autobiography of the artist and AIDS activist David Wojnarowicz.
When I was in art school, there was a stigma attached to coming from comfortable suburbia. If you were from Great Neck, Long Island, you couldn't be a 'real artist', so I found crafty ways of implying that I was from New York.
I wasn't an academic looking in books for ideas. But I educated myself about historical work that was similar to mine, to provide a frame of reference that wasn't the usual frame of reference of the New York art world and Europe.
Art was my little private pleasure. Nobody had seen my art, not even my parents. Andy didn't know about it. My dream was to become a publisher, not an artist lost in New York.
It's six o'clock; my drink is at the three-quarter mark - three-quarters down not three-quarters up - and the night begins. ("New York Blues")
To care about words, to have a stake in what is written, to believe in the power of books - this overwhelms the rest, and beside it one's life becomes very small.
Writing is a solitary business. It takes over your life. In some sense, a writer has no life of his own. Even when he’s there, he’s not really there.
But Jocelyn Morgenstern was not the kind of woman who wept, not the kind of woman who broke, or Valentine would have broken her long since.
Her attachment to language was earthy, physical, and immediate. Pretty words you could eat.
A brick could be a columnist for the New York Times, and could even win a Nobel Prize. And why not? Is that any more absurd than both those things happening for Paul Krugman?
Some of my best friends here in New York have pasts I have a hard time reconciling with the people I'm close to now. But I wouldn't change them - or their pasts - for anything in the world. Their experiences are what made them the people they are tod...
I came from Texas, I was studying theater at NYU, and I thought for sure that my lot in life would be to get the best bartending job I could find and do theater in New York. And that was a good life.
People ask me if I ever feel outside the Hollywood loop, and I never do, because both of us do a lot of theatre, so it's great for New York and it's also half-way between Europe and the west coast, so it's the best of both worlds.
If Tim Duncan had 'Knicks' on his jersey, he'd be a god. He'd be more than Patrick Ewing. With four championships and two MVPs, I think people realize he's one of the best ever, but if he played in New York, he'd be way more famous.
A popular Harvard business professor urged his students to read the obituaries in the New York Times before they read anything else, in order to learn from the lives of great men.
We didn't build the interstate system to connect New York to Los Angeles because the West Coast was a priority. No, we webbed the highways so people can go to multiple places and invent ways of doing things not thought of by the persons building the ...
I did a play called 'On Golden Pond' in a dinner theater in Maine and then went to New York for a talent competition having put together a three-man juggling routine and some one-liners and I got myself an agent from that.
I'm South American, and growing up in New York, I had the total stereotypical way of thinking of what Texas was about. I'm like, Texas. Big. Cows. Cowboys. Cowboy hats and cowboy boots. And barbeque.
New York grew up before the automobile. And even though it's full of cars, its shape and form didn't get created around the automobile.
I was in New York. Hitchcock was in California. He rang me to make a report on his progress and said, I'm having trouble. I've just sacked my second screenwriter.
