Best 3651 quotes in «new york quotes» category

I've never left for New York. I've stood my ground here my whole career and hopefully will be able to until the day that I die.

I've never felt Truth was Beauty. Never. I've always felt that people can't take too much reality. I like being in Ingmar Bergman's world. Or in Louis Armstrong's world. Or in the world of the New York Knicks. Because it's not this world. You spend your whole life searching for a way out. You just get an overdose of reality, you know, and it's a terrible thing. I'm always fighting against reality.

I've never had a treehouse because I live in New York City. It would be a little bit hard to fit a treehouse in a New York City apartment.

I've never seen anyone handling pans in the streets of New York, and if I did I doubt I'd give them money, unless I needed a pan. I do give money to homeless people, whether they ask or no.

I've never seen a theater community to rival that of Chicago. Neither New York nor L.A. has the raw talent or integrity that Chicago theater has, and I think it's because Chicago doesn't have Broadway or the film and TV business to distract it.

I've played some gangster roles, but that's obviously not me. When you're an Italian-American New York actor, it's just an easy way to get cast.

I've realized that what you think of when you make a 'big movie,' if it's actually a green screen movie, it's like doing independent New York theater because you don't have any backgrounds or props. So it's kind of like making the lowest budgeted film you could possibly imagine, plus $100 million.

I've wanted to be an actress for as long as I can remember, and I can say I was almost born in the theatre. My mum went into labour while she was watching The Nutcracker Suite in New York - apparently I was kicking like mad.

I visited New York in '63, intending to move there, but I noticed that what I valued about jazz was being discarded. I ran into `out-to-lunch' free jazz, and the notion that groove was old-fashioned. All around the United States, I could see jazz becoming linear, a horn-player's world. It made me realize that we were not jazz musicians; we were territory musicians in love with all forms of African-American music. All of the musicians I loved were territory musicians, deeply into blues and gospel as well as jazz.

I walk out my front door in New York and I'm out on the street and there are people everywhere. L.A. is so much more spread out, so it's really easy in L.A. to have a little more isolation and to just not see as many people.

I waited tables in New York, and when you're in that line of work, you often have a horrible boss.

I wake up every morning and say to myself, Well, I'm still in New York. Thank you, God.

I walk down the street and people don't go, 'my God, there he is.' I lead as normal a life as you can lead in New York City.

I walked the streets of New York for two years begging for a job, and I couldn't get one.

I want a guy who is masculine, good with his hands, and able to build stuff and who has survival skills. Facial hair is a big turn-on... I like a stronger, more physically imposing man - like a lumberjack.

I wanted to be a stage actress. I wanted to be a New York actress and have a community with other actors. I didn't want to get famous; I always thought getting famous was a drag on you.

I wanted to experience New York, to look up and see buildings.

I wanted to invent some kind of American dance that was danced to the music that I grew up on: Cole Porter and Rodgers and Hart and Irving Berlin. So I evolved a style that certainly didn't catch on right away - but I had some good mentors in New York who encouraged me.

I wanted to go to New York and be a stage actress, doing things like Chekhov. None of that happened, and then I went to L.A. and an agent said, 'I think you belong in commercials and TV.' So I did that and got some opportunities that I absolutely love.

I wanted to look right. I remember a review - a very positive one - in The New York Times that said I was so good in the role [Earl Mills] that I "even managed to overcome a terrible red wig." I wanted to write her and tell her about the agony I'd gone through with the perm, but I thought better of it.

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 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 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 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 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.