A Quote by Jonas Mekas
When I came to New York in 1949, there was already an entire fresh avant-garde film movement blooming in New York and California. It was a very, very exciting period!
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Well the thing is that the New York of 1846 to 1862 was very different from downtown New York now. Really nothing from that period still exists in New York.
I never wanted to or expected to make a film outside of New York. New York became very, very expensive. The same $18 million spent in Barcelona or Rome goes much further there.
Yeah, I was only in New York from the age of six months until five years old. But my very first memories are all of New York. I remember my first rainbow on a beach in New York. I remember jumping on a bed in New York.
Chicago seems to follow New York, and coming from New York and being in real estate, I worry about things happening in Chicago that have happened in New York. I've seen a great city like New York go downhill. It has a wonderful financial downtown, but the rest of the city is not very nice.
My parents were very humanistic, but where we lived was not the cultural center of the world. Hardly. So I came to New York for two reasons: to find my own kin and also to get a job. And that's what I came to New York for in '67.
I just love New York. New York has energy, it has culture, New York is very diverse. There's not a better place in the world.
I always thought it's not that the greatest players in the world come from New York. It's just the guys who shouldn't have made it, they came from New York. That's what makes New York special.
I got a hotel room at New York New York in Las Vegas and I was very happy. They've got that rollercoaster encircling the entire premises, just like Manhattan.
Well, it's a little harder in New York. It's not as forgiving to a film crew. You hold up a bunch of New Yorkers who can't cross the street, they're not going to take it well. Southern California? They'll wait. It's cool man. In New York, they're like, 'Are you kidding me? I gotta get to work.'
Boston is not an avant garde place. It stays literally 15 to 20 years behind New York at all times.
There are roughly three New Yorks. There is, first, the New York of the man or woman who was born here, who takes the city for granted and accepts its size and its turbulence as natural and inevitable. Second, there is the New York of the commuter — the city that is devoured by locusts each day and spat out each night. Third, there is the New York of the person who was born somewhere else and came to New York in quest of something.
I came over here with $100; it was 1983 and I just ended up staying. New York at that time was very inexpensive and it was very easy to get a job. We lived on Staten Island and you could get cheap rent. It was a good time to be in New York.
I'm from New York and I love New York and I'm always repping New York, but what I represent is something deeper than just being a New York rapper.
I feel like I can be infinitely inspired because New York is huge. There's always a new street I can go to, or a billion new people who I haven't met that I could write about. New York is very humbling.
I just got back from New York, and I realized in New York, it's very difficult to hear a New York accent. It's almost impossible, actually - everybody seems to speak like they're from the Valley or something. When I grew up, you could tell what street in Dublin someone's from by the way they talked.
I spend the majority of my time in New York and LA. I feel like a large part of my following and my fans are probably in New York and LA because of the work that I do is very New York-LA-centric. So people do recognize me. But it's nothing overwhelming at all.
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