A Quote by Hiroshi Fujiwara
In those days, in 80th, people were really hungry for information - and, somehow, I had pretty good access because I had friends in London, New York, Los Angeles, everywhere. I'd been visiting many places and talking with people, so I had a constant flow of new info. I sometimes did articles for magazines and things, and people started to say, "If you want to know what's going on, ask Hiroshi." So that was the beginning with Goodenough.
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I had dreamed of visiting Bali for many years and because I had an extended family of Balinese friends in Los Angeles, I felt connected. The island is so peaceful and the smiles are constant.
A lot of the reason I left New York, in addition to being so broke, was that I just felt I was becoming provincial in that way that only New Yorkers are. My points of reference were really insular. They were insular in that fantastic New York way, but they didn't go much beyond that. I didn't have any sense of class and geography, because the economy of New York is so specific. So I definitely had access and exposure to a huge variety of people that I wouldn't have had if I'd stayed in New York - much more so in Nebraska even than in L.A.
When 'Real People' aired in 1979, we did OK in Los Angeles and New York. What kept that show from being canceled were the ratings from the middle of the country, and that's what kept us in the top five. I learned then from co-hosting that it was important to focus on the country between Los Angeles and New York.
I've lived in a lot of places - London, Germany, Tokyo, Scotland, Ireland, Los Angeles, and New York. The fashion capitals I've lived in - Tokyo, London, and New York - have this stamp of coolness about them. But I've noticed that in big cities in general, people are just less afraid to be themselves when it comes to fashion.
There was a period of time between 2005 and 2008 that was pretty challenging. I had taken a leap of faith and moved to Los Angeles from New York, which had been incredible to me professionally. I couldn't get arrested in this town. There was a lot of doubt and fear that crept in, and boy, did insecurity stick her foot up in it. There were many obstacles that were overcome during that very dark period - creative, financial, emotional, and spiritual - and I'm here, standing, stronger than ever.
I had been at the director's workshop for women at the AFI, which at the time was a great thing to do. I had always meant to direct, and for a variety of reasons that are hard to explain, I never did. I produced many things - there'll be people who tell you I directed through them - and of course I wrote. It took a divorce, a move back to New York and a kind of "now I can do anything" to say, "I really want to do this."
We started very slow in America. It was small acoustic shows. We played places like Los Angeles, New York and Chicago and everywhere there has been a great reaction. It has been really lovely. They listen to the lyrics and the melody over there and the reaction has been fantastic.
I had a map on my wall that had a circle around Lubbock and then giant arrows pointing toward New York City and Los Angeles. Written across both arrows were the words 'Toward Civilization.' Of course, by the time I got to New York, I realized there really isn't any civilization.
I appreciate the 'Surreal Life.' I had a really positive experience on that show, and with those people. I found some love in my heart for religion again, and had the support of a new family of friends. I wouldn't have had the pleasure of meeting those people, if we were not all placed in that fishbowl.
When its 100 degrees in New York, it's 72 in Los Angeles. When its 30 degrees in New York, in Los Angeles it's still 72. However, there are 6 million interesting people in New York, and only 72 in Los Angeles.
I appreciate the Surreal Life. I had a really positive experience on that show, and with those people. I found some love in my heart for religion again, and had the support of a new family of friends. I wouldnt have had the pleasure of meeting those people, if we were not all placed in that fishbowl.
....I understood why those who had lived through war or economic disasters, and who had built for themselves a good life and a high standard of living, were rightly proud to be able to provide for their children those things which they themselves had not had. And why their children, inevitably, took those things for granted. It meant that new values and new expectations had crept into our societies along with new standards of living. Hence the materialistic and often greedy and selfish lifestyle of so many young people in the Western world, especially in the United States.
I had two jobs coming out of school: I did a play, 'The Great White Hope.' I played the boxer Jack Johnson. And I was the lead in this indie film. Then I moved to Los Angeles because New York was cold and it was really too quiet for me at that time. I was out of school; I was hungry. The auditions were trickling in, and I was antsy and ready to go.
I've seen a lot of brands fail because they went, 'Hey, look, we're from New York, and that's what we're all about.' But wherever you go, people are proud of where they are. So even though we're from New York, what we do is a mindset: it's got to work in Japan, in Los Angeles, London, wherever.
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.
It's hard for us sophisticates to believe, but the people my parents worked for were good people. They were socialists of the heart. They were Scottish upper class. I don't think they had political theories in the way my lefty friends in New York do but they did all the things that socialists do. My mother was the Jewish cook from Vienna and they would say, "Come and have dinner with us." I spent weekends with them. Who does that? This is Utopia.
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