A Quote by Mariska Hargitay
I'm living every ten-year-old boy's fantasy. The other day, Chris and I had this big scene where we had to pull out our guns, and I was thinking, 'Here we are in New York City - a place where every actor wants to be - and we are literally playing cops and robbers. How great is that?'
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New York had a big influence on me growing up, and I was really part of the club scene - the Mudd Club and Studio 54. When you're living in New York, you are just bombarded with style, trying to figure out how to be cool and how to feel relaxed at the same time.
I had started out my grown-up life in New York City, but I couldn't figure out how to be an actor there. And so I had been a magazine illustrator instead.
New York is big, fast, energetic, and has the most and best of everything. While it can push the senses, it's the most convenient place to live. It's much easier for a ninety year old to live in New York City than in the suburbs. NYC is the best mass assisted-living facility on the planet.
When I was a kid, I had a friend who went on holiday to the same place every year and I never understood why. My ten-year-old eyes always wanted new things to look at - new branches of WH Smiths to look for Sweet Valley High books in, and different campsites or self-catering cottages to explore.
New York City is a living organism; It evolves, it devolves, it fluctuates as a living organism. So my relationship with New York City is as vitriolic as the relationship with myself and with any other human being which means that it changes every millisecond, that it's in constant fluctuation.
I played cops and robbers and pirates and all the rest when I was a kid, but I didn't want to grow up and be an actor and play cops and robbers and pirates. I wanted to grow up and be that, be cops and robbers and pirates.
In my mind, New York was the place where they had the underground rap shows and I could get in on some ciphers and just rap. This whole fantasy world I had created in my head about New York just from listening to the music my whole life, like, I'ma go up there and do that. But when I came up here, there was none of that, that scene was dead.
In 1998, Vanity Fair asked me to write a big piece for them on the 50th anniversary of the New York City Ballet. My life, to a great extent, had been spent at and with the New York City Ballet, and I decided to try it. It was very scary, writing about something I loved so much and had such strong opinions about.
My father is a Japanese-American and my mother is a Caucasian. So obviously, New Year's Day is big for our family, you know, oshogatsu. We had obon festivals every year. All those things.
Things are so busy and so quick, and there’s so much going on, you have to realise the time when you have to take a step back, take a breath and really think back to where you come from. I’m from a very, very rural place. There’s really nobody out there, just roads and farms. I had a long transition to get to where I am now. I moved away when I was young, when I was about 19. I’d literally come from an area with dirt roads and stuff like that, right to the centre of a city of about five million people. It’s been great. I’m based in New York and every day it's amazing.
I've had a pilot every single year that didn't sell for the past four years, that'll smack you in the back of the head. I had a really good one last year; I wouldn't have done the play in New York if I had gotten that one.
Like every other place, I guess, Kansas City was quite a different city when I was a youngster there. They had quite a few clubs, and we had what we used to call jam sessions every night.
You are always in the process of creating. Every moment, every minute, every day. You are a big creation machine and you are turning out a new manifestation literally as fast as you can think.
Walking in the street, particularly in a city like New York, every single day, I am reminded of how objectified women can be. Being catcalled every day, multiple times a day, all the time... it just constantly happens.
For 10 years while I was at ESPN, I lived at the Residence Inn in Southington, Connecticut, near Bristol. I did that because my wife had a great job in New York City, and we had a place in New York City, at 54th and 8th. On Friday, I would come back, and then on Sunday evening I would go back to the Residence Inn.
There [is] a feeling of recognition, as of meeting an old friend, which comes to us all in the face of great artistic experiences. I had the same experience when I first heard an English folksong, when I first saw Michelangelo's Day and Night, when I suddenly came upon Stonehenge or had my first sight of New York City - the intuition that I had been there already.
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