I always remember to go on the Staten Island Ferry because it's the most amazing view of New York. And it's free! You see Ellis Island, and it conjures up something of that great moment: you know, the huddled masses yearning to breathe free. It's staggering.
Early on, New York already had a national and even international identity.
The Beethoven Experience provided the opportunity to solidify the relationship between the Orchestra and me, the Orchestra and me and the public, between all of us and the city of New York, because Beethoven after all is a really amazing point of reference.
You don't see a lot of super-high-end hotels being built in Houston because it's so expensive to build, unless you're in New York and can charge $1,000 a night.
Part of that is that New York has proved to be too much fun for me to live and work; I love New York so much.
I love seeing what people wear out to dinner in different cities. I know how differently I dress in New York than I do in Los Angeles.
I've had a pilot every single year that didn't sell for the past four years, that'll smack you in the back of the head. I had a really good one last year; I wouldn't have done the play in New York if I had gotten that one.
Chicago is constantly auditioning for the world, determined that one day, on the streets of Barcelona, in Berlin's cabarets, in the coffee shops of Istanbul, people will know and love us in our multidimensional glory, dream of us the way they dream of San Francisco and New York.
It sounds stupid, but there's nothing like walking down the street and seeing a building that's older than 100 years old. I think London - not to sound pretentious - like New York, it's a big melting pot for all things and it's just got this energy that you can't find anywhere else.
One thing about New York is you can understand how you're perceived really easily if you just get on the train, by the way people look at you.
New York had this wild beat that anybody could dance to. It was very nurturing to young people.
The idea is that there is a kind of memory in nature. Each kind of thing has a collective memory. So, take a squirrel living in New York now. That squirrel is being influenced by all past squirrels.
In Los Angeles, it's always nice out. In New York, it can be nice out or horrifying. You really have no idea what you're going to get on any given day.
When I first came to New York everybody on the scene would treat me like I could play, but I couldn't.
The entire New York comedy scene has moved to L.A. - it's bled the New York comedy scene dry.
So I've done my fair share of theater. I have also been very fortunate in that I've been able to come to New York two or three times a year just to see as many shows as possible. I think the live theater culture here is incredible.
People recognize certain things, like 'D' means 'this dialogue stinks.' We're dealing with shows that are written here, shot in New York and posted back here. Accurate communication is a necessity.
Yeah, we held a junior carp tournament on the St. Lawrence River in New York last August. I hosted that along with a couple of other people.
My writing is really intuitive. As a kid, I went to school in New Jersey and hung out in New York, so the way kids used to talk got into our earlier songs.
This union has been divided in like a civil war - brother against brother - sister against sister. And I'm pulling it together. We've already seen evidence of that in New York, in Pennsylvania, in California. The first thing is we have to get on the same page. We have to be united in one cause.
There are many exceptions, but New York is a great place to start a career.
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.
