A Quote by Juan Diego Florez
Little by little, when I was doing auditions in New York, I discovered I was good. People there were enthusiastic.
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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.
Feeling is taboo, especially in New York. I read in some little magazine the other day that The New Yorker and The New York Times were sclerotic, meaning, "completely turned to rock." The critics here are that way.
You can see the most beautiful things from the observation deck of the Empire State Building. I read somewhere that people on the street are supposed to look like ants, but that's not true. They look like little people. And the cars look like little cars. And even the buildings look little. It's like New York is a miniature replica of New York, which is nice, because you can see what it's really like, instead of how it feels when you're in the middle of it.
I actually started playing in little cafes around New York, and I have a lot of good friends of mine who are musicians who are struggling in New York.
I was as happy doing theater in New York for little or no money as I am now doing television for more money. The happiness, I guess, comes out of it being a good job. The success has to do with the fact that it's a good job that will continue.
Woody Allen stayed so good because he never left New York. Howard Stern stayed so good because he never left New York - Mel Brooks when he just got out of New York was doing 'Blazing Saddles;' when he left New York he started doing stuff like 'Robin Hood Men In Tights' - he was in L.A. too long. He lost the edge.
Honestly, people told me to. It was weird, I graduated from school, I never thought I'd live in L.A. and I always wanted to be to New York. I assumed that would be my trajectory - that romantic ideal of moving there and doing plays Off-Broadway and being scrappy about it. Then we did a showcase in New York and a showcase in L.A., and for whatever reason the response that I generated in L.A. was significantly more enthusiastic.
My parents were really, really cool about supporting what I wanted to do at a really young age. I think I was about 10 when I caught the bug. They would drive me down to New York if there were auditions. When I was 12, I did this show on Broadway called 'High Society,' so we moved to New York for the run of that.
I grew up partially in L.A. and partially in New York. In L.A., anything goes because it's really temperate. There aren't any fashion rules dictated by weather, whereas in New York, of course, there are. New York is seasonal, and also it's a fashion mecca, so people are a little more aware of how they put things together.
When you go back to 'Friends,' and you look at that as New York, there's no black people. That's not real. You're in New York City, and there's no black people at all. That's a little funny.
In New York, working at the foundry, I was making these little figures. I desperately would like to make big figures, but I just can't do it; my hands don't do it. We were talking about making bronze plinths, and then we made one, a square one. I wrote on it, then I put a little figure on top, and it just looked really good. It worked.
From what I've heard, Paris did a little bit more prep work as far as making bike lanes and all of that stuff. They really did it properly, which New York is getting to little by little.
Medicine in its present state is, it seems to me, by now completely discovered, insofar as it teaches in each instance the particular details and the correct measures. For anyone who has an understanding of medicine in this way depends very little upon good luck, but is able to do good with or without luck. For the whole of medicine has been established, and the excellent principles discovered in it clearly have very little need of good luck.
We need to create a new paradigm of development and happiness that can generate a three-dimensional peace – peace with ourselves, peace with other people and peace with mother earth. Little people doing little things in little places everywhere can change the world.
If we, each doing our own part, if we do good to others, if we meet there, doing good, and we go slowly, gently, little by little, we will make that culture of encounter: we need that so much. We must meet one another doing good.
I grew up in rural Tennessee. There were no bookstores in the town, but the school had a little library and the town had a little library, each with a patient and enthusiastic librarian, and I raced into both as if they were doorways to another world.
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