Quotes About New York

I suddenly realized it was fall and that I was going back to New York.

It was sad to see his tall figure receding in the dark as we drove away, just like the other figures in New York and New Orleans: they stand uncertainly underneath immense skies, and everything about them is drowned. Where go? what do? what for?—sleep. But this foolish gang was bending onward.

And of course now no one can tell us that there is no God. We've passed through all forms. You remember, Sal, when I first came to New York and I wanted Chad King to teach me about Nietzsche. You see how long ago? Everything is fine, God exists, we know time. Everything since the Greeks has been predicted wrong. You can't make it with geometry and geometrical systems of thinking. It's all this!

Resolutely and firmly I repeated what I said—'Come to New York with me; I've got the money.' I looked at him; my eyes were watering with embarrassment and tears. Still he stared at me. Now his eyes were blank and looking through me. It was probably the pivotal point of our friendship when he realized I had actually spent some hours thinking about him and his troubles, and he was trying to place that in his tremendously involved and tormented mental categories.

He was very lonely, he wanted to get back to New York. It was sad to see his tall figure receding in the dark as we drove away, just like the other figures in New York and New Orleans: they stand uncertainly underneath immense skies, and everything about them is drowned. Where go? what do? what for?—sleep. But this foolish gang was bending onward.

New York gets god-awful cold in the winter but there's a feeling of wacky comradeship somewhere in some streets. LA is a jungle.

Dean had a sweater wrapped around his ears to keep warm. He said we were a band of Arabs coming in to blow up New York. We swished through the Lincoln Tunnel and cut over to Times Square;

I didn't know what was happening to me, and I suddenly realized it was only the tea that we were smoking; Dean had bought some in New York. It made me think that everything was about to arrive—the moment when you know all and everything is decided forever.

I'm one with New York, and New York is one with me. I grew up there; there's no escaping it. We're like Siamese twins, if you separate us, I'll die.

I moved to New York in 1980, and I met Beth Henley, who's a marvellous playwright and who I have a real personal and professional association with, in 1982. I met her in a stalled elevator - we were the only two people in there - and she's been one of my very dearest friends since.

I'm in New York every two weeks. I don't have to ring a bell when I come to the city. I just do what I'm supposed to do when I'm in the city. I don't shy away.

Some critic complained about how many small films are released in New York... it annoyed me. Those small films that are lucky to get two weeks are often my favorite films of the year.

I lived alone, I didn't know anybody in New York, and I was definitely a recluse. It had been, like, two weeks, and I realized I hadn't said anything. I was laying in bed, and I was like, 'Hello?' I just talked to hear my own voice. And it was such a strange feeling.

Being typecast is a great thing for an actor. I was considered one of the New York mob actors.

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. Most of the kids I hang out with in New York are hipster arty types, but I like a stronger, more physically imposing man - like a lumberjack.

When I started coming to do shows in New York, New York had a pretty electric energy then. It was the early-nineties, and there was a lot of really fun theatrical types that were designing, and so the runway kind of became this stage for all of these mega model personalities to flaunt their stuff.

I can remember when anything further downtown New York than Canal Street was risky and the whole area still looked like a '70s cop movie location; when the original loft-owners were more dash-than-cash, artistic types.

Obviously, when I first came to the land of blond-haired, blue-eyed surfer types, I was the sardonic, sarcastic, liquor-swilling, chain-smoking, dark-haired, dark-eyed guy from New York.

One of the reasons I stay in New York is because you're always around so many other types of arts, and it's easy to just get lost in it.

It wasn't until I moved to New York that I started actually leaving the house and doing things. You know, I was a typical theater nerd.

I was a temp for three years in New York when I was auditioning; when I was cast in 'Mad Men,' I was still a temp. I'm good at making copies; I'm good at typing things. I'm good at killing the day and making it look like I'm doing something.

I wanted to do 'Texas Trilogy' on stage. But it didn't do well in New York. In fact, it did very badly there, thanks to the critics. It was said that Preston Jones, the author, died of ulcer complications, but the truth was that the critics killed him.

I've never been able to keep track of an umbrella, but then my dad gave me this fancy umbrella. It was in his car, and I had again lost some awful Duane Reade disaster umbrella. It was my first adult umbrella that wasn't from a drugstore, and I have left it all over New York, and every time, I went back to get it.

I moved to Queens from New Jersey in 2004 and have continued to stick with New York to such a degree that when people ask me to explain it, I'm sometimes unable to provide an answer.