I would absolutely be interested in doing a Broadway production if it was the right project. But my dream is to be writing pieces of theater for my best friends and putting on plays in New York City and seeing our vision come alive. I just hope to always be creating.
I came to New York in 1962 and it began to look like I might he able to make a living in 1972.
I got to Broadway a year after I came to New York. I starred in 'Butterflies Are Free' and got a Tony for it. Right out of the gate. Maybe that's why I wasn't very gracious about it. I wasn't driven. And right after 'Butterflies Are Free', I got married and then started a family. I always wanted that.
The crime problem in New York is getting really serious. The other day the Statue of Liberty had both hands up.
I bike around New York City as a way of getting everywhere I need to go.
Somewhere in this process, I begin reading and showing my book to my audience. When I say my audience, I mean a single imaginary child who is a blend of myself as a young person, the students in my wife's classroom of first- through third-graders, and the students from two classrooms I visit regularly in the Bronx, New York.
I've had an advantage; I've had a sort of open public acceptance in New York that doesn't happen to just anyone trying to make the transition you were talking about.
The constitutions of Maryland and New York are founded in higher wisdom.
For most of the nineteen-seventies, the official route map of the New York City subway system was a beautiful thing.
Many of my friends back in New York and elsewhere have a glib or dismissive attitude toward Los Angeles. It's a place of strip malls and traffic and not much else, in their opinion.
There's no one New York. There's multiple New Yorks.
I like Strahan a lot. I've known him for years. He was a Giant here - in many ways. Had a big following with the New York Giants. He's very funny. He's got a great sense of humor.
I am writing about people who are alive in the city of New York during mid-20th-century America. And these people are like a character in a play or they are figures in a short story or a novel.
I came to New York late; I was already past 30.
I don't ride the subway. Either I walk, or I take a New York City taxi.
I went from just a regular nappy-headed kid in poverty to Amar'e Stoudemire, New York Knicks captain superstar. But there's a lot in between that allowed me to get from point A to point B.
I grew up just outside New York City in a very white town. In seventh grade, I got called Macy Gray. It really affected me, so I got a weave and wore my hair straight.
I love the op-ed pages of the 'L.A. Times,' the 'Washington Post' and the 'New York Times.' There's just no substitute for the people who are thinking and writing on those pages.
They're not going to have a homeless person on a poster representing New York.
New York reminds me a little bit of Canada and my upbringing. Los Angeles is like living in a vacation, and you have to pinch yourself every once and a while.
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.
Musically, New York is a big influence on me. Walk down the street for five minutes and you'll hear homeless punk rockers, people playing Caribbean music and reggae, sacred Islamic music and Latino music, so many different types of music.
I was brought up in a very small town in upstate New York.
The first time that I came to New York to work properly was the mid-'80s, but I was doing eight shows a week. You have no life. Going to a punk rock club - or whatever the music was at that time - would not have been on my agenda.
If you were a kid in 1955, you would pick up a copy of 'Popular Science' and it would say, 'This is the kind of car you're going to be driving in five years or in 20 years you'll be able to take a jet plane from New York to London in four hours,' or something like that. We actually got used to the idea that the future's going to be different.
I grew up in New York City in the '80s, and it was the epicenter of hip-hop. There was no Internet. Cable television wasn't as broad. I would listen to the radio, hear cars pass by playing a song, or tape songs off of the radio. At that time, there was such an excitement around hip-hop music.
My office in New York is overflowing with all kinds of cookbooks, and in New Orleans we have a huge culinary library. So yeah, I guess I'm a little bit obsessed.
It has become cheaper to look for oil on the floor of the New York Stock Exchange than in the ground.
Whenever I'm being invited to the New York City Marathon like today, I need to think twice because I know it's a very tough race.
Like most manic depressives, some of my symptoms included racing thoughts that I simply had to act upon - flying from New York to Paris and taking the train to Berlin; flying to Argentina in the middle of the night; spending tens of thousands of dollars on unnecessary garments, dinners and gifts.
Architectural kitsch is most common in the commercial pop vernacular - typified by the Big Duck of 1931 in Flanders, New York, a Long Island roadside poultry stand resembling a duck, which Venturi and Scott Brown made a cult object through their writings.
New York is essentially a bazaar, not a Presbyterian church.
Before I came to New York, I only had a few pictures of the city in my mind. And you know 'That Girl?' Marlo Thomas jumping with her hat? I always loved that, and I wondered what that double street she crosses is. And it's Park Avenue! And that's what I can see out my window.
New York is a city where people are ambitious. They want things.
I'm an improviser. I came up doing improv at the U.C.B. Theater in New York for seven years. That's where I started, so improv is what I love.
You can learn more about human nature by reading the Bible than by living in New York.
