A Quote by Richard Gere
Shooting in New York can be a problem... I had to walk through a crowd, come in the front door, and play the scene.
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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 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.
I had this temp receptionist job in New York, and I kind of hated it, and in the morning I would come out of the subway and just walk along the New York streets with all these people around me and kind of sing to myself. Like, 'She's gonna make it!'
I've always said that I'm an employee and I respect that status but I'm the type of guy who walks in the front door and I'll walk out the front door if it's not right.
If you don't have a new door to walk through, the only thing is the old door.
I walk out my front door in New York and I'm out on the street and there are people everywhere. L.A. is so much more spread out, so it's really easy in L.A. to have a little more isolation and to just not see as many people.
I just did a play in New York which has been my best experience that I've had for maybe ever. It was Paul Weitz's play called Privilege and I was in New York for three months.
I just did a play in New York which has been my best experience that Ive had for maybe ever. It was Paul Weitzs play called Privilege and I was in New York for three months.
Every day I watched how a bare metal frame, rolling down the line would come off the other end, a spanking brand new car. What a great idea! Maybe, I could do the same thing with my music. Create a place where a kid off the street could walk in one door, an unknown, go through a process, and come out another door, a star.
People in Philadelphia are a world apart from New York. They're very different from people in the New York scene. The New York scene wants your visibility and wants your money.
When God gives you a door, if you want access, you go through that door. People didn't like Jesus. Oh, they had all kind of reasons to hate him but Jesus said, "I am the door. Any man who enters must come by me. If you don't come by me," he said, "you're a thief and a robber."
Well, if Omarosa Manigault is the door to Donald Trump, well I kind of like that door. That's a pretty door. That's an intelligent door. That's a spiritually rooted door.
When I was 15, I was scouted at the mall by Elite Model Management. I started to go to New York on the bus in high school, which was about four hours door-to-door from my hometown, until I moved to New York and lived in models' apartments all over.
I think that people should come to Australia through the front door, not through the back door. If people want a migration outcome, they should go through the migration channels.
You're supported by everything in New York if you want to be a performing artist. You come here, you can change your name. You leave home, you come here, you're severed from family obligations - the old identity drops away as soon as you come to New York because you're coming to New York, if you're an artist, to be someone else.
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?'
Rituals are important. I get up. I take the dogs on a walk around to the front and then I pick up the papers. Then I walk around to the front door, then me and the two dogs come in the house and I give them treats. I make coffee. It's the regularity of these kinds of rituals that I find deeply satisfying.
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