A Quote by Samuel Barnett
In New York, I get people coming up to me because 'The History Boys' was such a hit on Broadway, and they show the film all the time on cable over there, so people recognise you.
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If you don't go to Broadway, you're a fool. On Broadway, off Broadway, above Broadway, below Broadway, go! Don't tell me there isn't something wonderful playing. If I'm home in New York at night, I'm either at a Broadway or an Off Broadway show. We're in the theater capital of the world, and if you don't get it, you're an idiot.
I had been coming to New York, pretty much once a month, to dance on Broadway. I was offered a huge Broadway show but couldn't do it because my brother was having his huge Bar Mitzvah.
I grew up in a small Southern town, and there were white people and black people. Coming to New York to go to Columbia, every time I went into the subway I was absolutely astounded because you see people from all over the world who actually live here - who aren't just here as tourists.
BMX riding breaks down racial perceptions. Coming from New York City and being a BMX rider, that isn't something that's too common. I feel like for the longest time, I would ride through certain neighborhoods and people would call me a "white boy" because they associated white boys from California with BMX riding, and it bugs me so much because I'm completely not that. I completely don't fit that mold. It's really important for me to bring BMX riding to the masses and show people exactly what it is.
It took me a while to figure it out, but to have a real hit on Broadway, you have to get the respected Broadway people to like it. But then the production also has to appeal to the most middle-class people who know nothing about Broadway and who come to see it later.
I feel like I've been hit by a car every night, that's how I feel emotionally after The Race show. But it is a complete dream come true. For me growing up in New York all I ever wanted to do was Broadway.
All the way on the West Coast, never having seen a Broadway show, it was like, 'They don't want me. There's nothing there for me.' I'd come to New York a lot and never even tried to see a Broadway show. There was no reason for me to do that.
I did a couple of little Off-Broadway things, but my first Broadway show was A History Of The American Film, written by Chris Durang. Swoosie Kurtz was one of the stars. It was a wonderful show. It closed in 40 performances. I think it was kind of ahead of its time.
I did a great show Off-Broadway called Leave It To Beaver Is Dead that was at the Public Theater in New York. It was written by Des McAnuff, who's an illustrious director now, and it starred... Well, I was in it, Mandy Patinkin, Dianne Wiest, Saul Rubinek, and Maury Chaykin. It was an amazing show. But it was definitely ahead of its time, and people didn't quite get it.
Movie is a near art form. It's showbiz and people want to make money. And generally people are financing things because they think it will make money whether it's a cable news show, a cable show, or a feature film, or whatever it is. So that's the part of it that drives it, I think, is really the dollar.
I'm a person who's coming New York because of the magnetism of the people. I'm not coming because of expectations. I'm coming here because it's a very natural way of sharing. That's the reason. And also friends - I love to be with people I can't meet in Warsaw.
When I hit New York in 1972, I thought I was a sprinter. I thought that I would star in a Broadway show and do a movie and win an Oscar by the time I was 25. It turned out that I'm a long distance runner.
Being in New York and having worked at Time Out New York and then being at Time, living in New York for a long time has helped because I know everybody. And they're the people who call me and give me jobs. So that kind of real networking, which is just living in a place and having jobs where people around you are extremely successful, has helped me tremendously.
And I don't consider Broadway the acropolis of theatrical art. I mean Broadway is commercial - that's what it is. It's expensive seats and a lot of them that have to be filled every night. Off-Broadway and Off-Off Broadway, as far as I'm concerned, is in New York the pride of New York theater.
And I don't consider Broadway the acropolis of theatrical art. I mean Broadway is commercial - that's what it is. It's expensive seats and a lot of them that have to be filled every night. Off-Broadway and off-off Broadway as far as I'm concerned is in New York the pride of New York theater.
Well, I think people don't recognise my face because I'm so much older now, but it is astonishing that people can recognise a voice. I do sometimes get recognised, and indeed a lot of people do come and see me.
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