A Quote by Julia Fox

I'm so many different things in one. I'm like, really, truly a New Yorker. — © Julia Fox
I'm so many different things in one. I'm like, really, truly a New Yorker.
Lilian Ross was a - veteran writer for The New Yorker. She, in fact, brought me to The New Yorker many years ago.
My family goes way back in New York. So I am a New Yorker; I feel like a New Yorker. It's in my bones.
Like every New Yorker, I have a love/hate relationship with the city. There are times it's overbearing, but when I'm away even for a little while, I can't wait to get home. I am a New Yorker.
I fell in love with New York. It was like every human being, like any relationship. When I was a young New Yorker, it was one city. When I was a grown man, it was another city. I worked with many dance organizations and many wonderful people.
I think I became a better writer after I started writing for the New Yorker. Well, I know I did. And part of it was having my New Yorker editor and part of it is that was when I started really going on tour and reading things in front of an audience 30 times and then going back in the room and rewriting it and reading it and rewriting it. So you really get the rhythm of the sentences down and you really get the flow down and you get rid of stuff that's not important.
'The New Yorker's fiction podcast I like a lot, where they have authors pick short stories by other authors that appeared in 'The New Yorker.'
I'm a New Yorker. Matter of fact, the more I'm in places like Texas and California, the more I know I'm a New Yorker. I have no confusions. About that.
I fell in love with New York. It was like every human being, like any relationship. When I was a young New Yorker, it was one city. When I was a grown man, it was another city. I worked with many dance organizations and many wonderful people. In the '90s, it became kind of a hard and unwelcoming city in many ways. It became conservative, like the whole country.
I feel like my music has so many different things going on. I've always worked with many different producers. And a lot of times, each of them has a different thing that I really love about what they do.
Another example of what I have to put up with from him. But there was a time I was mad at all my straight friends when AIDS was at its worst. I particularly hated the New Yorker, where Calvin [Trillin] has published so much of his work. The New Yorker was the worst because they barely ever wrote about AIDS. I used to take out on Calvin my real hatred for the New Yorker.
In New York, all the crews read 'The New Yorker.' In Los Angeles, they don't know from 'The New Yorker.'
If you are not a New Yorker, when you arrive there for the first time you have the impression you grew up there because you've seen it in so many films. It's been filmed from every single angle and by so many different filmmakers that you know the streets, the sidewalks, the architecture, the cabs, the temper of the people.
I can get really obsessive. I like writing many drafts, and I try not to because it is very time-consuming, especially when you're working on a novel. But I do like to take a story and reorder it, put things in different places. This allows me to see things in a new and sometimes surprising way.
When you live in New York, one of two things happen - you either become a New Yorker, or you feel more like the place you came from.
I'm a fourth-generation New Yorker. My family has been in New York for many, many years.
I like L.A., I really do, but I'm really a New Yorker. In New York, there's a feeling that you're not praised or treated too preciously. No one ever feels too important because someone on the subway will reassure you that you're not.
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