A Quote by Harold Brodkey
I was always crazy about New York, dependent on it, scared of it - well, it is dangerous - but beyond that there was the pressure of being young and of not yet having done work you really liked, trademark work, breakthrough work.
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I was always crazy about New York, dependent on it, scared of it - well, it is dangerous - but beyond that there was the pressure of being young and of not yet having done work you really liked, trademark work, breakthrough work
It had always been a dream of mine to come to New York to work. Coming to New York and looking for work is one thing, but coming to New York and already having a job and feeling like you are already part of the city has been an amazing experience for me.
I didn't understand the culture and what Starbucks was really about. It wasn't a coffee shop. It was really a way of life... we suffer from thinking that since we have it in New York, or it won't work in New York, that it won't work some other place. That's a discipline we keep trying to improve.
I've always liked fairy tale and spectacle. I wouldn't say I was a fantasy fan, but anything beyond reality I've always found exciting - the work of David Lynch, the work of Tim Burton. But for me, I also love those things that are absolutely about human relationships.
What work I have done I have done because it has been play. If it had been work I shouldn't have done it. . . . The work that is really a man's own work is play and not work at all. . . . When we talk about the great workers of the world we really mean the great players of the world.
I remember, in my first show in New York, they asked, 'Where is the Indian-ness in your work?'... Now, the same people, after having watched the body of my work, say, 'There is too much Indian philosophy in your work.' They're looking for a superficial skin-level Indian-ness, which I'm not about.
I have always liked being under the radar. Work hard and do well. That is why people talk about you.
The reality about being economically dependent on someone else usually doesn't work out for women in the end. It's about being an adult and being responsible for your life. Most women have to work, so let's just get on with it.
When I moved to New York, obviously I work with a lot of high fashion brands and I get to wear insane, totally crazy bags and all this crazy stuff but still, I'll always go back to my original sense of style.
We wanted to premiere it in New York, because New York is sort of the home of the Jim Henson Company and it's sort of the tone and flavor, always, of the puppet work that we've done traditionally. And that's what brought us here and now we're here.
I don't believe in work-life balance. I think it's more about work-life integration because, increasingly, so much time of ours is spent doing work, so I've always wanted to dedicate my work life to having a social impact.
There's a different kind of attitude when you come from Western New York. You work for everything you get, and nothing's really handed to you... You realize good work turns to good things, and that's the edge I always came up with.
I do recognize the most valuable work being done across the country is that work being done inside the four walls in our homes. And let us not forget how important the work of the mother and father are to raising responsible citizens.
New York for me is about work. If L.A. were to become a West Coast version of that, I'd shoot myself. The climate, the lifestyle - it really fits as the yin to my New York yang.
Work is the greatest means of education. To train children to work, to work systematically, to love work, and to put their brains into work, may be called the end and aim of schools. In education, no work should be done for the sake of the thing done, but for the sake of the growing mind.
I thought, 'I'll come back to New York. I worked for the 'Aspen Times' when I lived in Aspen. I'll work for the 'New York Times' when I live in New York.' It didn't work out that way.
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