A Quote by Lawrence Wright

I was in Austin on 9/11, and there were no flights, so I couldn't get to New York to cover the story, so I had to find more creative ways. — © Lawrence Wright
I was in Austin on 9/11, and there were no flights, so I couldn't get to New York to cover the story, so I had to find more creative ways.
The Democratic Party has awakened. We've not been awake since 9/11, in many ways. We had moments, sporadically, where we woke up. But I think we were so hit by 9/11, as the whole country was, that we didn't get our legs back. It took a while. Now the Democratic Party is back. I've never seen it as united. Sure, we have a ways to go. We have a lot of ground to cover.
It means a lot to be back in New York. Particularly since one of the last senior event scheduled in the States was supposed to be here in New York. We were supposed to play in Central Park right after 9-11 and when 9-11 happened obviously things changed.
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.
It sounds really over the top to say you're responsible for the city of New York, but I do feel responsibility to the city of New York, to this country, to people everywhere. So many people were affected by the events of September 11, and I feel this is one of the ways that that event will be understood and defined.
The commission had to subpoena the F.A.A. for documents, had to subpoena NORAD for documents and they will never get the full story. That is one of the tragedies. One of these days we will have to get the full story because the 9-11 issue is so important to America. But this White House wants to cover it up.
When I was 18, I was moving to New York to start college at The New School. I had done a year of college in Toronto and wasn't happy there. I didn't have any friends in New York City, but I applied and got in. It was pretty overwhelming, but everyone in New York is so ambitious and creative.
My job is to cover the hell out of the story, very aggressively. The real place to be courageous if you're a news organization is where you put your people to cover the story. It's making sure that you have people going to Baghdad. It's making sure that you figure out how to cover the war in Afghanistan. While the journalist in me completely stands with them, the editor of the New York Times in me thinks my job is to figure out what the hell happened and cover the hell out of it, and that's more important than some symbolic drawing on the front page.
Our creative communities in Nashville, in L.A. and New York, and in Austin, those are communities you want to see stay viable.
If I'm not mistaken, that relationship [of Barack Obama] with Mr.[Bill] Ayers on this board continued after 9/11 and after his reported comments, which were deeply hurtful to people in New York and, I would hope, to every American, because they were published on 9/11, and he said that he was just sorry they hadn't done more.
It's my wish that I can help creative people think of new ways to be creative - to get more joy and understanding from their own unique processes.
In June 2002, I had just finished 'Laurel Canyon' and decided to move back to Los Angeles after nearly a decade in New York. Post-9/11 New York felt different.
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.
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.
It's hard for me to figure out where I want to be. But it's definitely in New York. I feel like New York throws different challenges at you and you can be more creative.
As a journalist, I never critiqued anyone. I never review books. I've never felt qualified as a musician to say whether someone is a good musician or a bad musician. What happens with Black writers and Black artists is that if you're critiqued, for example, by a Black historian who wants to get his name on the cover of "The New York Times," and he says something, like, wacky, well, he'll get his name on the cover of "The New York Times" and he might get tenure, and your career suffers.
In cities like New York and Austin, there's much more of a social context for music than in other places.
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