Best 3651 quotes in «new york quotes» category

I could count my modeling jobs on my hands and toes. When I graduated from college, I moved to New York specifically to study acting, and I needed to pay the bills, and it's better to make a couple thousand dollars in one day than to wait tables six days a week.

I couldn't be more excited to return to the ING New York City Marathon.

I couldn't chance failing in New York yet, letting the city fail me. It was the only place I knew I belonged. If I couldn't survive there, I would have no place else to go.

I couldn't wait to come to New York to reinvent myself.

I could turn around as Wyatt Walker said to me about, not you personally, but about the whole Black Muslim movement. That if you go outside of New York City, Dr. [Martin Luther] King is known to 90 percent of the Negroes in the United States and is respected and, and is identified more or less with him, at least as a hero of one kind or another. That the Black Muslim, outside of one or two communities like New York, are unknown.

I currently live in the Plaza in New York and I love it - all that history, all those interesting stories.

I’d been listening to men talk since I arrived in New York City. That’s what men like to do. Talk. Profess like experts. When one finally came along who didn’t say much, I listened.

I'd been acting and doing stand-up in New York about eight years, getting rejected, and I finally got the opportunity to do stand-up on Letterman, which holds even more importance for me. With comedians, that's definitely the pinnacle, but being from Indiana, it was a big to-do.

I'd been living on the streets of New York, and I was sleeping at my friends' houses, sometimes in the subway.

I'd be derelict in my duty if I didn't go and continue to use every advantage that I can to promote New York's cause.

Ideas matter in New York. I am certain that more conversations in New York are about ideas than anywhere else. Not just vague theories, but ideas that New Yorkers have the will, and the clout, to do something about.

I decided if it was going to be a mistake to come to New York and try and make a career in fashion, then it was going to be my mistake... But the American dream is real. I'm living it.

I decided to be a filmmaker between my sophomore and junior years at Morehouse. Before I left for the summer of 1977, my advisor told me I really had to declare a major when I came back, because I'd used all my electives in my first two years. I went back to New York and I couldn't find a job. There were none to be had. And that previous Christmas someone gave me a Super-8 camera, so I just started to shoot stuff.

I deeply regret to say that terrorism has become globalized: ' From New York to Mosul, from Damascus to Baghdad, from the Easternmost to the Westernmost parts of the world, from Al-Qaeda to Daesh'. The extremists of the world have found each other and have put out the call: 'extremists of the world unite'. But are we united against the extremists?

I definitely had an advantage growing up in New York. It's different playing on a New York playground.

I definitely want to do more movies, and I'm also a writer, so I have a few screenplays that I'm working on, one of them based off my one-woman show that I used to do in New York. Two of the screenplays I've written by myself, and then I'm also working on one with my writing partner, Tom Riley, who's in London.

I'd excluded New York from my writing, and then I came back and I fell in love with it all over again... The energy comes from an absence, that yearning for New York when you are not there.

I did a comparison of a school of architects known as the New York Five. I compared their articulation of wall surfaces, which I enjoyed very much

I did a great show Off-Broadway called Leave It To Beaver Is Dead that was at the Public Theater in New York. It was written by Des McAnuff, who's an illustrious director now, and it starred... Well, I was in it, Mandy Patinkin, Dianne Wiest, Saul Rubinek, and Maury Chaykin. It was an amazing show. But it was definitely ahead of its time, and people didn't quite get it.

I did a film called Dracula and it was very nice because I had lots of trips to New York on Concorde.

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 did a show called 'Wonderland' a few years back, and I was fortunate enough to spend a full-on two weeks - I'm talking 13-15 hours a day - with the doctors and patients at Bellevue in New York. That served me well for 'Durham County.

I did live in Paris for three years and I prefer New York.

I did New York, I Love You which is a very personal film for me. My most personal film, but it's not like a film I've ever made. I would never do that film as a feature, for instance, because it's not very commercial of an idea.

I did always want to write. And then, when I left New York, where I was working very steadily in the theater - I had done three Broadway shows in a row and was a bit burnt out - I moved out to L.A. and I was not working very much. I came in cold and I'd work for a week, but then I'd have a month or two off. I thought, "I'm going to go crazy unless I actually do write." Like a lot of things in life, it was a situation that came about by circumstances.

I did children's theater when I was younger, and then when I was about 14 I started doing theater in New York City.

I did live in New York. Yeah, I moved to L.A. for 'Community.' And I gave up my apartment in New York.

I did not believe I was superior to him. Perhaps the chief reason for his defeat was the overestimation of his own powers arising out of his overwhelming victory in New York, 1927, and his underestimation of mine.

I did my New York debut at 21. It was “On the Town” at the George Gershwin Theatre. New York is my artistic home.

I did come to L.A. to try to get on TV and get in front of a camera, so I could have a stage career in New York.

I did not come from an academic background. My father was a smart man, but he had a fifth-grade education. He and all his friends were plumbers. They were all born around 1905 in great poverty in New York City and had to go to work when they were 12 or 13 years old.

I did all this stuff that was illegal when I was a kid. I drank beer when I was 15. I smoked cigarettes when I was 13. I drove to New York City when I was 14 - don't tell my son. Those things were against the law, but I did them anyway. I didn't become a heroin addict, although I probably could have gotten heroin somehow. I don't think my son would buy heroin at any price. He knows what it is, and he knows how stupid it is.

I did have a big following in the upper New York area. I was at the New York State Fair a few times over the years. I have areas that I say are my areas.

I did not have any money, so when I came to New York, I just dressed myself with whatever I could find and the Army-Navy store.

I did not have a personal relationship with Jesus until I met my nanny, who helped me through a failing marriage and raising my two boys in a New York City apartment. She showed me by example what it was like to be able to talk to Jesus and bring all my cares and worries to Him. That was in 1990.

I didn't do well in high school, but I took photography, and I loved being able to capture moments. It led to more and more photography, and fashion was the angle into photography for me. It was incredible to see photographs by Irving Penn or Helmut Newton. I was really intrigued by that, and that's what led me to New York City.

I did not support any more New York. I lived 10 years there, and after September 11, I felt very European. I did not share the opinion of people in the street, who were deeply influenced by what they heard in the media.

I did not want to leave the Mets and I did not want to leave New York.

I didn't come to New York to be a star. I brought my star with me.

I didn't do a masters in creative writing until I was 26, which is quite old, and then I found myself in New York and I needed money, so I started working full time as an editor.

I didn't have a philosophical understanding of music until I came to New York. I didn't understand how it applied to my kind and my generation. I thought it was just old people talking.

I didn't have much, but I was always happy to share what I did have. It seemed like every African that came to New York City would show up at my apartment door at dinnertime, and I couldn't turn them away. I wasn't much older than any of them, but they started calling me 'Mama Africa' and the name stuck.

I didnt know I was mad about anything. I guess if the New York Times says I am, I must be.

I didn't know I was really a writer until I read it in the New York Times. And then I thought, "Oh my god, maybe I can really do this". That was a review of "Margaret.

I didn't realize how much of a Hoosier or a Midwesterner I was until I moved to New York. It's weird - growing up in Indiana, I wanted to get out, and now I completely romanticize Indiana. It just seems like there's a greater focus on family back there, which I suppose is something that kind of stayed with me.

I didnt start doing graffiti until two years after I got to New York. Jean Michel Basquiat was one of my main inspirations for doing graffiti. For a year I didnt know who Jean Michel was, but I knew his work.

I didn't want to be driving to work everyday and sending out my Starbucks order. I didn't want to be in New York or L.A. I wanted to have space and I wanted to be in a remote place where all of us could just be ourselves and not worry about anyone trying to listen in or get in on that. I wanted to just be comfortable. I feel like being in a big city - as much as I find New York, in particular, very inspiring in a lot of ways - can also be claustrophobic.

I did some professional radio acting as a teenager, and I essentially put myself through college with radio acting in Montreal. When I graduated, I got jobs in professional theatres, repertory, and stock theatres in Canada for a couple of years. And then I went to Stratford, Ontario, where I spent three years with a Shakespeare company. We took a classical play from Stratford to New York City, and I got some good notices there and essentially stayed and did live television. And that brings you to the beginning of filming.

I did theater at Carnegie, and in Pittsburgh and New York.

I did theater for a few years while I was in New York, but it was tough having to perform scripts worse than what I knew I could write.