A Quote by Billy Crystal
In the late 1960s, I was working as an usher for the New York stage production of 'You're a Good Man, Charlie Brown.'
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You're a good man, Charlie Brown.
Linus: It was a short summer, Charlie Brown. Charlie Brown: And it looks like it's gonna be a looong winter.
The best thing about New York is working late into the night. At 1 in the morning on a Saturday, to be still working, there's an immense satisfaction in being enclosed by it.
What does New York sound like? For me, the Charlie Parker at the Royal Roost recordings on the Savoy label are the total embodiment of the New York music experience.
With Charlie Brown, it was about loneliness and isolation. I always thought that the thing about Charlie Brown and those characters was the absence of the parents. Half the strip was about who wasn't there. The parents were never in the picture.
I did 'How to Succeed in Business... ,' 'Kiss Me Kate,' 'Godspell,' and 'You're a Good Man, Charlie Brown' in high school, all of which were fun.
I felt I had to share Idaho with my friend from New York because he'd shared New York with me, so I was going to share the beauty of nature with a man who went to museums and clubs late at night. But there was nothing to do where I lived at night.
New York was the last place that my movies caught on. I didn't make underground movies in New York, and in the 1960s, they were very snobby about that, because the whole scene was here.
Because I direct films, I have to live in a major English-speaking production center. That narrows it down to three places: Los Angeles, New York and London. I like New York, but it's inferior to London as a production center. Hollywood is best, but I don't like living there.
My first job was in a movie theater. I worked at Cinema 6 in New City, New York. I was an usher. I sold popcorn.
If you started in New York you were dealing with the biggest guys in the world. You're dealing with Charlie Parker and all the big bands and everything. We got more experience working in Seattle.
Why are you standing here, Charlie Brown?" "I'm waiting for that little red-haired girl to walk by... I'm going to say hello to her and ask her how she's enjoying her summer vacation, and just sort of talk to her... You know..." "You'll never do it, Charlie Brown... You'll panic..." "Besides that, she's already walked by!
The idea for Anthem the play began over twenty years ago. I was assisting in the production of another Ayn Rand work, Ideal. I moved to New York and began working on producing the play with my partners. And as a way to raise money to cover some venture debt, we decided to stage Anthem for a limited run at the Lex Theatre in Hollywood.
When I first played New York, it was with James Brown at the Apollo, and I was playing in a band under the name The Valentinos. I remember Sam Cooke saying, 'I want you to go in there with James Brown. I couldn't be as hard on you as James Brown would be.' But we came out marching like soldiers.
I started going back and forth, New York, London, New York, London. I wasn't looking back at all. I was doing tons of jobs. Working, working, working, working.
I think I can work anywhere, but you don't get the same kind of inspiration everywhere. New York theater has become a big inspiration for me. I only started writing for the stage myself because I like to see the good, mostly off-Broadway plays in New York.
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