Best 3651 quotes in «new york quotes» category

I wanted to play for the New York Yankees. That was the bottom line. I wanted to be there and play in that new stadium.

I wanted to try something different. Most people my age go off to college; I thought I'd try out New York.

I want everyone in the Republican party who opposed me to know this: you are welcome to join this people's crusade. Come aboard. You are both welcome and needed. If we unite, we'll win - and we'll rebuild New York.

I want to be a morning-talk-show host. I love Kelly Ripa's job. She gets to live in New York and has this amazing job hosting a talk show.

I want to be a New York Giant for a very long time.

I want to own the New York Jets, that's what I want. And I absolutely believe I am going to own the Jets.

I was 18 years old when I did the pilot [of Hi Honey, I'm Home], so I was a freshman at NYU, and it was one of my first professional auditions in New York City. And I somehow booked the job. I have no idea how.

I was a bartender in New York and I overheard this girl saying she made $3000 doing a commercial. A kid at work told me, 'Hey, I know this director and he'd really like you!'. So I walked into this guy's office and was like 'I was thinking maybe I could make $3000' and he hired me for commercials, short films, like 15 jobs in a row.

I was about twenty and the Beatles were meditating and I heard about it and they had a center in New York and I came to the center and I learned about it.

I was 16 when I came to New York. I had graduated to a tenor banjo in the school jazz band, and it was kind of boring - just chords, chords, chords. Then my father took me to a mountain music and dance festival in Asheville, North Carolina, and there I saw relatively uneducated people playing great music by ear.

I was a bouncer for ten years in New York City.

I was a hoarder, and I got rid of everything. Now nothing comes in my home unless it has a purpose. And decor is not a purpose. Home is New York apartment with a table, a bed and sofas. That's it. Everything else is gone.

I was a girly-girl until I moved to New York. Then I got really into the androgynous look of the early-'90s club scene. I had really short hair and started blurring the line a bit. But for me, grade school was about Benetton, Esprit, and Guess jeans.

I was a good amateur but only an average professional. I soon realized that there was a limit to how far I could rise in the music business, so I left the band and enrolled at New York University.

I was a girl from Massapequa, New York. I grew up in Massapequa. I lived in a basement with one window.

I was a hostess in a restaurant in New York when I was 21, and I was too good of an employee. I was putting most of my energy into that instead of acting. But my father told my sister and me to look at whatever needed to be done and do that job well, no matter what it was.

I was always crazy about New York, dependent on it, scared of it - well, it is dangerous - but beyond that there was the pressure of being young and of not yet having done work you really liked, trademark work, breakthrough work

I was always into noir. When I lived in Vermont I was drawing stuff that looked like an amateur doing 'Sin City'. When I first got to New York I was swiftly informed that they only did guys in tights.

I was also sitting in from the middle of senior year of high school at Sweet Basil, it was a great club in New York.

I was always interested in fashion and beauty. I was fifteen when I was scouted in a flea market. Two years later, I arrived in New York. I was in awe because it was like another planet.

I was a mechanic at a go-cart place, a deejay at a roller rink, a telemarketer in New York, a grocery bagger.

I was an art history major, but never specifically contemporary. I would say where I really stopped were the abstract expressionists in the New York school.

I was announcing to the public, in 2006, that I'd be leaving Microsoft in a couple of years and focusing full-time on the foundation. That was the time at which we went back to New York and Warren [Buffett] announced these gifts to a number of foundations, with a very high percentage of it going to us and basically doubling our capacity.

I was arrested 1965. I had come back from the merchant marines, got into conversations about the war. I had never heard of Vietnam until I was in the merchant marines in constitution square in Athens, and I picked up the New York Herald or the International Herald Tribune and there was my first introduction of the word Vietnam.

I was a runaway girl from France who married an American and moved to New York City. Im not sure I would have continued as an artist had I remained in Paris because of the family setup.

I was a Republican until I got to New York and had to live on $18 a week. It was then that I became a Democrat.

I was at the New York Film Critics Circle Awards one year - they called me up when somebody canceled two days before the thing, and asked me to present some awards. So I went, and one of the funniest film moments I've ever had was when they introduced the New York film critics. They all stood up - motley isn't the word for that group. Everybody had some sort of vision problem, some sort of damage - I had to bury myself in my napkin.

I was as happy doing theater in New York for little or no money as I am now doing television for more money. The happiness, I guess, comes out of it being a good job. The success has to do with the fact that it's a good job that will continue.

I was at a public school until I was in sixth grade when I moved to New York.

I was a waitress years ago when I was first trying to become an actress, waiting tables in New York City.

I was born here in the city, born in the Bronx. Son of a cop. One grandfather was a taxi driver; the other was a firefighter. New York is in my DNA.

I was a writer for 'New York' magazine. I had been to business school, but what did I know? Still, everybody from the receptionists on up to the editor would ask me what they should do with their money.

I was ballet dancing at four, playing piano by six, and doing commercials by 12. When I was 21, I was on the number one live comedy show in Puerto Rico. I told my parents, 'I'm going to New York to become a performer.' And I left.

I was born and raised in New York City, Manhattan, uptown.

I was born in New York, so I'd love to study at New York University.

I was born in New York City, but I was raised in New Jersey, part of the great Jewish emigration of 1963.

I was born and raised in New York and I'm of an age where I want to just be home. But, you know, when you sign up to be an actor it's like joining the circus and the circus is not always going to be in your hometown.

I was born in New York but as a baby moved to Venezuela and Argentina. I've also lived in Denmark, where my father's from. I've traveled a lot, and having that sort of background probably increased the chance that I was going to remain curious as an adult about people who are different.

I was born in New York, then I went to the UK, then I went to Brazil, then I went to France, then I studied in Italy. My life was always about being confronted with an environment where you had to adapt.

I was born in Queens, New York, which is a suburb of New York City.

I was born on 22 March 1931 in New York, the elder child of Abraham and Fanny Richter.

I was born on the other side of the tracks, in public housing in Brooklyn, New York. My dad never made more than $20,000 a year, and I grew up in a family that lost health insurance. So I was scarred at a young age with understanding what it was like to watch my parents lose access to the American dream.

I was brought up in a very small town in upstate New York.

I was drawn to boxing because I got beat up as a kid. I was the kid with the piano books in a New York neighbourhood.

I was desperate to go back to New York and when 9/11 happened, I feared moving to the bulls-eye and that was very hard because I have a lot of family there and I really had to question what I didn't like about this community.

I was doing a play in New York, which we had done in New Haven, Connecticut. It was an American premiere of a play called The Changing Room written by a wonderful man named David Story. It was about a rugby team in the North of England. It got just screaming rave reviews. At that time, virtually every major critic went up to the Long Wharf Theater to see a new play like that.

I was every Londoner's stereotypical idea of a brash, vulgar American. When I got here, it turned out that London was the Wild West, and New York was like London at the height of the Victorian era, in which everyone was far more obsessed with table manners and status-climbing than they are in London. In London, everyone was just crawling over this blizzard of cocaine. Here, if you have more than a glass of wine with your meal, people refer you to Alcoholics Anonymous.

I was going through a time where I was like man I wanted all of my clothes to be totally understated and I would do pop color with hats from a line called Ale et Ange out of New york City. They created all these hats and I just thought they were super fresh and the only way that I could really get them across...I was just like, 'Let me make everything mute and just put on the hat.'

I was in a cab in New York. The cab had a sign, "Please do not smoke, Christ is our unseen guest." This guy was reaching. I figure, if he could overcome being nailed to a cross, I don't think a Marlboro Light's gonna faze him that much.

I was in New York, miserable because I was working supper clubs but I wasn't expressing myself. I was really unhappy with my life. I saw Max Roach again and he told me I didn't have to do things like that. He made me an honest woman on the stage. I have been performing in that tradition since. I feel that I'm a serious performer now whereas then I wanted to be but I didn't know how.