A Quote by Patrick Ewing

I wish I had stayed and finished my career here in New York. — © Patrick Ewing
I wish I had stayed and finished my career here in New York.
Woody Allen stayed so good because he never left New York. Howard Stern stayed so good because he never left New York - Mel Brooks when he just got out of New York was doing 'Blazing Saddles;' when he left New York he started doing stuff like 'Robin Hood Men In Tights' - he was in L.A. too long. He lost the edge.
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 have a lot of regrets about what I've done. If I had to do it over again, I never would have left the Mets. I'm very thankful for all that Mr. (George) Steinbrenner did for me when I was with the Yankees, but I wish I had stayed in New York with the Mets.
I don't think I found my voice until I reached New York. I suppose it's possible I would have had some kind of different literary career if I had not discovered New York.
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.
I wish I hadn't worked so hard; I wish I'd had the courage to live a life true to myself, not the life others expected of me; I wish I'd had the courage to express my feelings; I wish I had stayed in touch with my friends; and I wish I had let myself be happier. It's an extraordinary list of getting in your own way, isn't it?
When I got to New York, I had no place to sleep. The pay from 'Sesame Street' wasn't enough to rent an apartment. I was staying on people's couches. I stayed in the dressing room until they found out. I stayed with Jim Henson and his family for a week, and I wanted to do that permanently. I didn't dare ask, though.
I could have stayed at Southampton until I retired and finished my career there.
I never had intention of coming to New York or L.A. and actually doing more than scraping by - you know, doing plays. And as my career sort of progressed of its own volition, I did come to New York.
In my first few years of being in New York, I had a major identity crisis because I'd never stayed in one place for so long.
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.
I left New York after my mother died and, rather aimlessly, had settled in Istanbul for a change of scene. It was a rather dramatic gesture on my part, since I'd lived in New York for 20 years, but I felt I needed something different - the escalating expense and pressure of New York had begun to weary me.
As far as my New York influence, one thing I'm proud of in my career is, I rep Brooklyn, New York all day. But people don't look at my music as New York music. People consider my music underground music.
President [John F.] Kennedy, after the Bay of Pigs, said to Turner Catledge of The New York Times: I wish you had written more, I wish you had investigated more, because it might have saved the country of the cataclysm of the Bay of Pigs.
If you've ever tried to move from L.A. back to New York, that's a pretty hard move. You forget how cramped things are in New York. You forget how dirty it is in New York. But, it's been the best move of my life, not necessarily for my career, but for my soul.
I've lived in New York when I've had nothing, and I've lived in New York when I had money, and New York changes radically depending on how much money you have. It's the texture of life.
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