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New York Quotes

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New York Quotes

“I don't take so-called "vacations" often. In fact vacations are more stressful than the lives my wife and I worked hard to set up for ourselves in New York. It seems like being on vacation is like normal living, which is not very satisfying. It means we're figuring out what to make for lunch today, and that seems like such an absurd way to live. The issue of dealing with that doesn't seem to be so prominent back home. It sounds so silly and ridiculous, but it's really the way it is. We love what we do, so I prefer being in the studio; that's really living for me.”

“New York is just New York. It's a hard city, it's a hard city to live in. It's a desperate city. It's filled with scam artists and people who are always looking for a way in and a way out and the majority of people have to really negotiate their way through that jungle to get to the other side; the other side being a place of tranquility and peace and home and safety.”

“Visually I've always liked the 20s 30s for film. I do these because I like the music. I like the clothes. I like the way the women and the guys look. There are soldiers and sailors and gangsters with the machine guns in their violin cases. It's a very colorful era of New York, full of great theater and great nightclubs and great jazz.”

“Insider can be more ludicrous. How did I ever end up [as one]? Carsick [Waters's book on hitchhiking] was on the New York Times best-seller list for five weeks. [One of the characters was] a singing asshole that does a duet with Connie Francis! Times have changed. That's mainstream, in a weird way.”

“In New York, I'm playing in a church, solo, doing instrumental stuff. There's talk of doing more, like, installation-type things with some of the specimen horns I've played through. Just filling a room in a museum with these horn-speaker sculptures and then making loops that run all day, and you walk around the room and sort of mix the sound by where you stand. That's all way in the future, but that kind of stuff is a different way of thinking about performing.”

“I fell in love with New York. It was like every human being, like any relationship. When I was a young New Yorker, it was one city. When I was a grown man, it was another city. I worked with many dance organizations and many wonderful people. In the '90s, it became kind of a hard and unwelcoming city in many ways. It became conservative, like the whole country.”

“When I came to New York, to Brooklyn, I met Alvin Ailey and Stanley Crouch and August Wilson. They were always putting things in a philosophical context. All the great jazz musicians did, too. There was always a sub-context to what they were saying about music even though they would be very down home and earthy. So I started to develop, in addition to my power and ability to simply hear, a way to place myself in a time.”

“It used to be trained professionals doing animation and they were great. Now they have celebrities and famous actors doing the voices, but that does not always work. But I think this film turned out really well, partly because the three of us (me, Ray and Denis) are comedians who are used to doing solo acts and doing certain types of voices. The three of us are New York guys, we all came up the same way in the profession and we are all edgy and enjoy doing family movies. It was a good combination I think.”

“In an old model, the way a film would imprint itself on the public's consciousness is to get a theatrical run. But now there are more documentaries and more films in general being released than ever before. There are weeks when the New York Times is reviewing 15 films, so it's harder to leave an impression on the public. A lot of these films are seeing their financial future on digital platforms. Because viewers aren't hearing as much about films in theatrical release, I think the festival circuit is going to have increasing importance for the life of a film.”

“I don't really think in terms of the future of literature. I think literature will be around "forever" - but in a relatively niche way, like jazz and poetry, although probably more widely consumed than jazz and poetry since it's fundamentally a narrative form. And I think that's important and places like Word Riot and 'The New York Tyrant' and 'n+1' will be responsible for keeping it alive.”

“A lot of guys in New York will only play with an edge. They find their groove and that's their groove. to me, once I do that, there's no point in playing anymore because it should always be a mystery. Depending on who you are playing with, there are hundreds of ways of playing. I think that a master can play all those different kinds of time.”

“I have always loved jazz music and as a teen growing up in New York City and then later on as an adult have great memories of the jazz clubs that were all located on 52nd Street. I still catch as many jazz shows as I can when I am in New York. And when I perform, I have my jazz quartet by my side. Jazz musicians keep things spontaneous and very "live," which is the way I like to perform.”

“Every time someone does a Western movie, people flock to it. It's like, we're continually programming to people who are least likely to watch us. People in Nebraska aren't watching things on the computer, they're watching television. Why aren't we programming things for them? We only program things that appeal to New York and Los Angeles and in many ways spit on the rest of the country.”

“I've worked with the Warrens. For about 20 years. I was really good friends with Ed. Ed and Lorraine. We went our separate ways, there were a few differences. In their organization, being that they were from Connecticut, I started the New York City chapter of the organization and handled things in New York. But eventually I was out on my own. But I've been friends with them for a long time.”

“The 1980's witnessed a new dance genre in New York City and Los Angeles. Slam Dancing was perhaps a way for adolescent males to deal with the stressors of maturation, aggressive personal feelings, and violence in the society at large. Through dancing, the youths expressed raw power and rage while achieving euphoria, enhanced self-concept, and a healthy fatigue.”

“I love New York, but it's a rough city. It's not dangerous now the way it was in the 70's or the 80's, but it's still a rough city. It's hard to hack it there. Life is harder than it is on the West Coast. To be able to deal with that, you have to have a lot of aspirational feelings pinned on being there.”

“I love New York ... I think it's the best city in the world. As far as cities go, everything's there. I think it's so vibrant. I love the people, I think they're honest, in your face. If they don't like you, they'll say, 'Get out of my way,' if they like you they'll slap you on the back and support you. It's a very intoxicating environment to be in.”

“We are all used to paying a sales tax when we buy things - almost 9 percent here in New York City. The application of this concept to the financial sector could solve our need for revenue, bring some sanity back into the financial sector, and give us a way to raise the revenue we need to run the government in a fiscally responsible way.”

“Of course, in Los Angeles, everything is based on driving, even the killings. In New York, most people don't have cars, so if you want to kill a person, you have to take the subway to their house. And sometimes on the way, the train is delayed and you get impatient, so you have to kill someone on the subway. That's why there are so many subway murders; no one has a car.”