New York Quotes - Page 118

In a city like New York, any night can be completely different, even in a subtle way.

I always had this New York fantasy of living in a glass high-rise.

Part of the reason for moving to New York was the sense that it just didn't matter how much work I did in England, I continued to be seen simply as a Redgrave. I did feel I could be who I am in New York and we all like to feel appreciated.

What's great about New York is that there are a lot of theater actors and actresses, who are trained actors, that they bring onto the show. They're so talented, in such a weird, quirky and ominous way. And it's great to be able to work with new faces, too.

I think the New York Public Library is so, so amazing. It's literally the coolest place - It's good shelter from the sun and it's the most beautiful building. It's really, really fun.

I recently went to New York for the first time, and honey, I'm in love with that place. I'm obsessed with its sausages.

I feel like all Londoners relate more to New York - L.A. doesn't feel like a 'city' city. It's like a sleepy town.

This book, "Speaking Freely," starts when I came to New York. And the first chapter is about a man who became a friend of mine, much to our mutual surprise, Malcolm X.

I had written a book called "Boston Boy" some years ago, and that took me from the time I could speak, I guess, in Boston through the time when I finally left to come to New York. One was understanding and coping with anti-Semitism. Boston, at the time, was the most anti-Semitic city in the country. And I found out when I was an adolescent that you have to be crazy to go out after dark all by yourself; you'd get your head bashed in.

I had written a book called "Boston Boy" some years ago, and that took me from the time I could speak, I guess, in Boston through the time when I finally left to come to New York. That book had a number of sort of rites of passage for me.

Clay Felker was then - he had - to his credit, he had created New York Magazine, which was the first of the city magazines that covered the city and gave all kinds of advice and all that sort of stuff. And there were copies all over the country by the time he left. He had, however, a view of journalism that was very much, I must say, like Tina Brown's at The New Yorker. You hit 'em hard, fast, give 'em something to talk about the day after the paper comes out, as contrasted with William Shawn, who gave them something to talk about two or three years from then.

[William Shawn] took over The Voice and tried to turn it into New York Magazine - very glitzy covers that promised practically nothing in terms of what was inside, very rushed paper anymore. You - not very contemplative, thoughtful or whatever.

At the time there was a hospital strike in New York and the Catholic hospitals were part of a general consortium, and the head of the consortium had decided that they were finally going to replace some of the striking workers. And I hear [John] O'Connor yelling, `Over my dead body will you replace any of those workers! They have a right to strike.' So I figured, `This is interesting.'

Margot [Hentoff] used to write regularly for The Voice, for The New York Review of Books, for Harper's Bazaar, and she really had the most distinctive writing style, even more than mine, than I've ever seen in this business.

I live in the Village right near NYU, which is taking over most of the Village. I've lived there for most of my time in New York. One of the things I like about the Village is, it's considered the kind of area where you can't have skyscrapers or, actually, many tall buildings. So you can see the sky which, I think, is a benefit.

Bob Dylan was really mad with my wife. I had asked by Rolling Stone - the only assignment I ever had for them - to do a story on the Rolling Thunder Review, which was Bob Dylan, Alan Ginsberg, Joan Baez and a host of stars. My wife, some weeks before, had written in The New York Times that The Kid wasn't The Kid anymore and he wasn't all that winning anymore.

Would you believe it's harder to find a virgin than a unicorn in New York?

Welcome to New York, where everybody's a stranger, and nobody is.

New York was an idea, I thought, an idea held simultaneously by thirteen million people.

New York City was the world's biggest vibrator. Everything vibrated above, and below the streets.

I started working at the age of 2, doing commercials and modeling in New York.

Hailey [as a character] was born when I left the courtroom and moved to New York for Cochran and Grace, my TV show with Johnnie Cochran. I moved with two boxes of clothes, a curling iron, and $300; I didn't know a soul in the city, so I would come home at night and I'd be all alone and just write. I missed the courtroom and [what led me to the courtroom] so much I wrote about it. After my fiancé Keith's murder, I had never thought I would have children - I thought that it was not God's plan for me to have a family.

When I put my big retrospective together in '96 [for the Whitney Museum of American Art, New York], I saw that there were all these pictures of people inside looking out. All these pictures of women in water and mirrors. I don't know what it means.

In '83 I started travelling round Europe with my slide show. It wasn't until I moved to Europe and got accepted in a big way in Berlin in the '90s that I got acceptance by the big art world in New York. I didn't really get to be known, or in the market, til '93 in New York.

September 2001. A sunny day in New York. Many of us who are writers were at work on the transformation of life into a poem, story, a chapter of a novel, when terror pounced from the sky, and the world made witness to it.