A Quote by David Furnish
I haven't done much art shopping in Vegas. It tends to be from galleries that are London- or L.A.- or New York-based. We've never had someone standing over our shoulder telling us something is a good investment.
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There are three capitals of entertainment in the world: Las Vegas, New York and London. So far the only one I truly conquered is Vegas. New York and London are still on my checklist.
I love shopping, but I can find something to buy wherever I go! London is great for shopping, as is Los Angeles and New York - but I can find a good shop in the middle of nowhere!
Anyone who relishes art should love the extraordinary diversity and psychic magic of our art galleries. There's likely more combined square footage for the showing of art on one New York block - West 24th Street between Tenth and Eleventh Avenues - than in all of Amsterdam's or Hamburg's galleries.
We were going to do 'Reno 911!: New York, New York, Las Vegas,' which was like a 'Die Hard' set not in New York, but in the New York, New York casino in Las Vegas. We were really excited about being locked into the one casino and doing a bad action movie.
I can be much more creative with my menus in the casino cities. In New York, there are certain things I can't make. In Las Vegas, they're much more receptive. Rabbit, some seafoods - they won't necessarily do well in New York, but I'll try them in Las Vegas, and they'll be a success.
What's changed in New York, and what made us really change our thinking about New York, is that the different neighborhoods are becoming more important as shopping destinations than they used to be.
There was a kind of cultural life in New York that wasn't as solidified as it is now, it wasn't as money-driven. If you look at the size of the successful art galleries compared to the size of galleries now - there was no such thing as the Gagosian Gallery or Pace Gallery. But it was a time when magazines were a vital part of American life, and Esquire gave me a free pass to every world - I could get to the art world, the theater world, the movie world. It allowed you to roam through the cultural life of New York City.
I think the unemployment rate for actors is pretty much the same in Sydney, London and New York. In all three cities, there are more actors than there are jobs. But I do think that there are far more acting opportunities in London and New York than in Sydney, where there are approximately seven actors that you see over and over again in every play.
There are 65 to 70 photography galleries in New York alone. In the U.K., there are no more than five, and they're all in London.
I arrived in Tokyo in around '81. Around that time, I visited London for about two months - it was the period just before Malcolm McLaren released his solo album Duck Rock. I'd met him when he came to Japan, so I visited him in London and spent one evening with him and his girlfriend over at his house. He told me, "London is boring right now. You should go to New York." So he called a friend in New York, who I think was an old assistant or someone who helped him record early hip-hop stuff over there.
There aren't that many galleries in Havana. There are a few state galleries and an ever-increasing but still limited number of independent galleries; there's no comparison with the number in New York.
Everyone in New York wants to move to London, and everyone in London wants to live in New York. A few people want to live in L.A., but I'll never understand that. It's too much for me.
Everything I learned and didn't do in New York I would put into place here in the London West Hollywood. It's fascinating, when you look at the critics' reviews, and we had a great one in the New York Observer and all that, and then the New York Times came and it was a devastation; two stars out of four. They said that I played safe because it wasn't fireworks. Then they judged the persona over the substance that was on the plate.
Now there is a big turnover in the galleries. The top galleries are getting better all the time. A lot of galleries just struggle along, then a new one comes along. There are certainly a great number of galleries. I think this argues well for the art but there are, of course, a lot of "phonies" in all the arts.
So I feel now very much like a guardian. I'm standing in front of art. I'm standing in front of cinema. I'm standing in front of Black culture. I'm standing in front of the history of America, and I'm protecting it by making art, by protecting our art, and by promoting our art.
I spent a lot of time standing on street corners [of New York City] talking to local residents. I spent time in bookstores and galleries. But most of the time, I really did not have much to do.
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