A Quote by Paul Morrissey
My films always play better outside of New York, especially to critics.
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L.A. films are hard to define compared to New York films because New York films are their own subgenre, in a way. L.A. is more transparent.
I loved reading when the critics in New York would say that some of my films reminded them of Lenny Bruce.
I want to retire in New York, let's be quite frank. I think a lot of people jumped the gun when I said I wanted to be a free agent. And yeah, I want people to come to play in New York. I want them to want to play in New York. I want New York to be that place where guys want to come play.
I tend not to think that anything I happen to be reporting on in my films is special. Meaning that people are always saying to me, 'you must love New York, you have it in all your films.' But mostly it's because I know New York, and I know Brooklyn at this time. I know the lives there, because I have lived in them.
My agent in London says all New York films are wonderful if they're really New York films because they're like travelogues.
I've made so many films in New York. There was an assumption I think a lot of people had that I am a New Yorker, that I am from New York, and I always felt like nothing could be further from the truth.
I produced a play in New York that got nominated for an Outer Critics Circle Award for Best American Play.The play is called Stalking The Bogeyman. It was a story on This American Life, and my former roommate is the artistic director of the New York Repertory Theater. He heard the NPR show, contacted them, and essentially - shortest synopsis ever, like I'm the Cablevision guide button - it's the true story of a man stalking and plotting to kill the man who raped him when he was seven. It's by a brilliant reporter named David Holthouse.
Feeling is taboo, especially in New York. I read in some little magazine the other day that The New Yorker and The New York Times were sclerotic, meaning, "completely turned to rock." The critics here are that way.
I kind of grew up on the East Coast, lived in New York for a while, then moved to L.A. So I'm not a New Yorker at all, but I'm much happier in New York; I've always liked it better.
I live in New York City, the stories of my films take place in New York; I'm a New York filmmaker.
RyanAir have been getting a hard time because they've launched a £7 flight to New York. Although as always with RyanAir it does land slightly outside of New York. In Dublin.
I'm from New York and I love New York and I'm always repping New York, but what I represent is something deeper than just being a New York rapper.
I've always liked New York, as I like towns with an edge and New York has a European feel, so when I came to play music here in the '80s it was a surprise to me.
When critics ask you if you feel vindicated by other critics - I didn't like critics then, and I don't like them now. There you go. I've always been outside the mainstream, and it stayed that way.
I always considered myself a songwriter, but I didn't move to New York with plans of doing that; it just sort of happened. Everyone thinks that I moved to New York strictly to play music, but I totally just happened to fall into playing with Woods, and it all got started from there. I just went to New York to hang out.
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.
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