A Quote by Louis Zamperini
The race film had confirmed a dead heat. That was great. But even better, most of the New York press finally learned to spell my name correctly.
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An unspeakable tragedy, confirmed to us by ABC News in New York City: John Lennon, outside of his apartment building on the West Side of New York City, the most famous, perhaps, of all the Beatles, shot twice in the back, rushed to Roosevelt Hospital, dead on arrival. Hard to go back to the game after that news flash, which in duty bound, we have to take.
It was in New York, and I've always wanted to film in New York. And the writer was a teenage friend of mine. We did youth theatre together when we were 16 and always had a dream of making a film together. And ten years later, we've done it. So it's great.
Everything I learned and didn't do in New York I would put into place here in the London West Hollywood. It's fascinating, when you look at the critics' reviews, and we had a great one in the New York Observer and all that, and then the New York Times came and it was a devastation; two stars out of four. They said that I played safe because it wasn't fireworks. Then they judged the persona over the substance that was on the plate.
Not even the most powerful organs of the press, including Time, Newsweek, and The New York Times, can discover a new artist or certify his work and make it stick. They can only bring you the scores.
I began to exercise a lot of cinematic muscle with the precepts I had learned in the New York art world. Film was intriguing. I began to think of art as elitist; film was not.
I began to exercise a lot of cinematic muscle with the precepts I had learned in the New York art world. Film was intriguing. I began to think of art as elitist, whereas film was not.
I mean, if you look at all the great romantic screwbally kind of movies from the '30s and '40s, they're all in New York. Even 'Sleepless in Seattle,' a movie about Seattle, ends up in New York, of course. The whole country, even if they've never been to New York, knows about it... from the movies.
When the film was presented in New York, the distributor reproduced the fountain scene on a billboard as high as a skyscraper. My name was in the middle in huge letters, Fellini's was at the bottom, very tiny. Now the name of Fellini has become very great, mine very little.
I went back to Jamaica after living in New York and started to work on experimental stuff and basically I grew as a filmmaker. I went to film school; I was a PA on a lot of projects and I worked so hard, you know, you're young and I learned from different mentors. And luck put me in the position to work with amazing people. One of my mentors by the name of Little X, who took me under his wing after I came out of film school and moved to New York. I worked in videos for Jay-Z, Pharrell to Busta Rhymes and Wyclef. I quickly realized how much I wanted to make films instead of music videos.
A new space race has begun, and most Americans are not even aware of it. This race is not [about] political prestige or military power. This new race involves the whole human species in a contest against time.
I was at the New York Film Critics Circle Awards one year - they called me up when somebody canceled two days before the thing, and asked me to present some awards. So I went, and one of the funniest film moments I've ever had was when they introduced the New York film critics. They all stood up - motley isn't the word for that group. Everybody had some sort of vision problem, some sort of damage - I had to bury myself in my napkin.
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.
I thought New York had it coming, that it needed a kick in the balls. When I returned to New York, I wanted to get even. Now I had a weapon, photography.
I go down to New York, do the project, and leave. I have no interest in participating in the rat race down there. Hip jazz fans know who I am. There's a generation of musicians in New York who know my records better than I do.
What's better these days, television or film? It's a dead heat. In fact, one could argue for television with more regularity.
I found L.A. much less responsive to the name Juilliard than New York was. In New York, that name actually means something. People will look up from their desks when you walk in. In L.A. it's, 'Oh yeah, that's a music school. What do you play?'
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