A Quote by Mohsin Hamid
Violent cities, people who live in violent cities, find a way - as New Yorkers did 30 or 40 years ago - they find a way to just carry on. But you're stressed out. You're worried, you know.
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As a country, Americans have to find a way to keep our cities solvent. If large numbers of cities no longer have the necessary tax base, we have to find federal methods to intervene. If we don't, there's a risk of dozens of cities simply being left to their bankrupt fates - and I can't see how that serves anybody's interests in the long run.
For the most part, French cities are much better preserved and looked after than British cities, because the bourgeoisie, the people who run the cities, have always lived centrally, which has only recently begun to happen in big cities in England. Traditionally in England, people who had any money would live out in the suburbs. Now, increasingly, people with money live in the cities, but this has changed only in the last 20 or so years.
Cities are drivers of growth and wealth, and at the same time, cities are becoming increasingly violent.
We have food deserts in our cities. We know that the distance you live from a supplier of fresh produce is one of the best predictors of your health. And in the inner city, people don't have grocery stores. So we have to figure out a way of getting supermarkets and farmers markets into the inner cities.
People are people, and I get a bit annoyed that the music business only focuses in on the big metropolises. I find that people that don't live in big cities are just as likely to enjoy music as people that do live in big cities.
I have a bold plan to break from the Bloomberg years, and end the 'Tale of Two Cities' by providing real opportunity to all New Yorkers, no matter where they live.
Whether or not you find your own way, you're bound to find some way. If you happen to find my way, please return it, as it was lost years ago. I imagine by now it's quite rusty.
You have to take in the whole picture, and ask, "What is it you want? What kind of world do you want?" So, I have drawings of different cities. Those cities have an end goal; they're not just cities. The end goal of those cities is to make things relevant to people that they respond to. There's no other way.
We often judge cities by great public buildings. But we admire great cities because people live there in a beautiful way. You have to think about how each person will live there; you can't just think about abstract ideas.
Canadian cities looked the way American cities did on television.
America is much less violent than it was 20, 30 years ago, and immigration is much less a problem than it was not just 20, 30 years ago, but when I came in as president.
I just think cities are unnatural, basically. I know there are people who live happily in them, and I have cities that I love, too. But it's a disaster that we have moved so far from nature.
Finding a kid that could be introspective and internal and thoughtful, and then also be wild and free and guileless and physical, it was hard. So at the end we started getting down to panic time, and we still hadn't found our Max. And we decided to go about it a different way. We said, "Let's just find friends of ours that live in interesting cities in the country that maybe aren't as big, and people that don't do casting." And thinking maybe you find a place that has an artistic community, maybe we'll find some interesting kids from there.
I'm living in a world that was created a hundred years ago with vaudeville and people traveling around and medicine shows and things and making live music on stage and I'm still doing that. I like it that way. I like to present something to people that's had 40 years of being honed and perfected. It's something that you're not going to find with an artist who's been around for two or three years, or even ten years.
I'm not a big fan of violent movies, it's not something I like to watch. And it's not my aim or goal to make a violent movie. My characters are very important, so when I'm trying to depict a certain character in my movie, if my character is violent, it will be expressed that way in the film. You cannot really deny what a character is about. To repeat, my movie end up becoming violent, but I don't start with the intent of making violent movies.
I've made plenty of violent games in my life. I play violent games. They don't affect people in the way that a lot of people think they do. They just don't. It's demonstrably true that they don't, and anybody who thinks they do is just not thinking.
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