I don't necessarily notice too much of a change in the sense of the kind of matches that I have in say a Los Angeles as opposed to a New York City. The big difference that I notice, and this is what all love as New York city and Philadelphia has treated me fantastically, but man, you cannot screw up in Philadelphia and New York.
When every piece of furniture and your underwear are taken by the bank, when you lose your house in Florida, in New York, in Amsterdam and L.A., when your wife is dying and your son abandons you, you don't feel very good.
The city seen from the Queensboro Bridge is always the city seen for the first time, in its first wild promise of all the mystery and the beauty in the world.
A very awkward situation occurs often in New York City when you are walking down a relatively empty sidewalk and there happens to be a person walking right next to you in the same direction as you at the exact same pace as you. I never know whether to pass or draft. It becomes sort of a strange competition.
On the screen were some flashback shots of Daniel, Emma and Rupert from ten years ago. They were 12. I have also recently returned from New York, and while I was there, I saw Daniel singing and dancing (brilliantly) on Broadway. A lifetime seems to have passed in minutes.
Some 2,800 Americans went to Spain [during the Spanish Civil War], and it was, by far, the largest number of Americans before or since who've ever joined somebody else's civil war. I think they were primarily people who were deeply alarmed by the menace of fascism. They saw this on the horizon. I quote one volunteer, Maury Colow of New York, who said, "for us it was never Franco, it was always Hitler."
Of course, there are those critics - New York critics as a rule - who say, 'Well, Maya Angelou has a new book out and of course it's good but then she's a natural writer.' Those are the ones I want to grab by the throat and wrestle to the floor because it takes me forever to get it to sing. I work at the language.
I value my correspondence with writers...I was in New York and had lunch with Oliver Sachs and compared notes with him - he is someone I really like. I love staying in written correspondence with some writers. That's enough for me.
Now almost every artist outside of New York is connected with some school or some museum school, and even in New York the majority are. That's an interesting fact when you take the idea of making money, making a living selling paintings. Only a dozen or two painters do that.
In the, uh, '30s and '40s, the Brill Building was the hub of, uh, musical activity in Tin Pan Alley in New York City. I believe Irving Berlin was there, and uh, and everything just centered around there.
I wasn't born with a silver spoon in my mouth; I came from really humble beginnings - the projects of New York City - and I worked my way to get to where I am.
My mother's background was Scottish. She came from an old family, some of whom lived in upper New York State and some of whom had come over from Scotland.
New York is a city where you're so alone, you're an individual, you can disappear. You can make something happen. But it's very different to make something happen in the art world.