I used to write a monthly column for the 'New York Times' syndicate. But I stopped because I found it really hard to have one extreme opinion a month. I don't know how these columnists have two or three ideas a week; I was having difficulty having 12 things to say a year.
In New York in the Forties or Fifties, everybody's in a suit, an overcoat and a hat.
I eventually became an actor, starting with doing stand-up comedy in New York and then theater wherever they would let me. Finally, I moved out here to Los Angeles and got on a show.
Traffic signals in New York are just rough guidelines.
All the New York City Ballet does is hit beautiful home runs.
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 must be honest. I can only read so many paragraphs of a New York Times story before I puke.
It means a lot to be back in New York. Particularly since one of the last senior event scheduled in the States was supposed to be here in New York. We were supposed to play in Central Park right after 9-11 and when 9-11 happened obviously things changed.
It's difficult to do a genre film well, and it doesn't matter if you're talking vampire movies or 'Dawn of the Dead' or 'The Thing' or 'Escape From New York.' Those kind of movies, they understand what the old-school B-movie is supposed to be, they get the throwback of it.
However, the moral center of New York City, I believe, is the New York City Ballet.
When I see Lemlem walking around New York City, it's just mind-boggling, because I know it came from this one man sitting and weaving this little product.
I live in New York City, but I live in Hoboken because it's cheaper there, and I can own a condo.
New York in a way functions as another character within the story, as it does within most of Woody Allen's stories.
I mean New York City is the financial capital of the world. It's where all the money passes through, the Dow Jones, whatever, that's where all the money goes.
The theater is my power center, and I love doing it in New York.
I've lived and worked in Brussels and New York at the U.N. and worked all over the world. I would jump on a plane and be in Kabul one week and then Dafur the next.
'Codename Baboushka' is an action-packed modern pulp spy thriller, in the sort of British tradition of 'Modesty Blaise', New Avengers and of course James Bond. It's a book about Contessa Annika Malikova, the last of a noble Russian line and an enigmatic, mysterious figure in New York high society.
One can make the case that the New York venture capital industry is rooted in the 21st century, not the 20th.
Does the New York City Ballet affect other places? Yeah, it lets people know they should come to New York.
I received a call from Jets general manager Mike Tannenbaum and head coach Eric Mangini. They asked me if I was ready to become a New York Jet. I quickly answered 'yes' and began to hug everyone at the table.
I wasn't making any money, but I didn't feel unsuccessful because of that. You can do that in New York but not in Hollywood. In Hollywood, it is how much money you make.
I sat in at every club in New York City, jamming with musicians, because it felt right - and because it felt right and we were having fun - the people dancing and sipping their drinks in the clubs felt it too and it made them smile.
Water, water, everywhere, Atlantic and Pacific. But New York City's got them beat, Our aqua is terrific!
I went to the Professional Children's School in New York, and I started modeling because I could do that until I actually figured out what I wanted to do, and it gave me the opportunity to travel.
I have taught students from the New York City area so long I have a special affinity and rapport with them. It surprises me sometimes that there are students from anywhere else.
A healthy Amtrak is an integral part of New York and the Nation's economy and transportation systems.
I like what I see now in China, but I think the Japanese are a step ahead into craziness and weirdness. I go to galleries there that are the size of a New York elevator, and every time I'm surprised by the amazing things I find. I really hope I'll be able to promote some of these artists, to show their work in the West.
In New York, I am barely recognised, or people don't really care. When I go to Portugal, I go outside to a public place and am recognised constantly.
I felt New York was a big, more stylish, more metropolitan Golders Green. I was thrilled.
I know what it's like to be from an incredibly small town and the oppressiveness of it and the desire to get out. But I didn't realize that readers in Seattle, New York, and San Francisco might not get that so instinctively.
I would say that the Pentagon Papers case of 1971 - in which the government tried to block the The New York Times and The Washington Post that they obtained from a secret study of how we got involved in the war in Vietnam - that is probably the most important case.
I always find it kind of embarrassing, kind of funny, and kind of exciting. In New York I'm recognized a lot, although nobody says anything. You know, they stare at you just a second too long. But in Paris it's not as commonplace to be recognized.
I grew up with Woody Allen and early Spike Lee movies in which New York was such a specific character. The city has a certain vibe and beat which really informs your entire existence.
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.
New York feels like sometimes it's not part of the United States. So does L.A. Chicago feels like it's a big city that's part of America.
I go to Paris, I go to London, I go to Rome, and I always say, 'There's no place like New York. It's the most exciting city in the world now. That's the way it is. That's it.'
