A Quote by Woody Allen
New York is my home and I have a particular fondness for it. I think it's a place where you can generate any kind of story wonderfully. But I also would be very happy to make a film in Paris or Rome.
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I never wanted to or expected to make a film outside of New York. New York became very, very expensive. The same $18 million spent in Barcelona or Rome goes much further there.
I think London, New York, Paris, Milan, any big city has its own fashion. I don't know why they make such a big thing of Paris. I think maybe it comes from French New Wave films portraying the French girl as very feminine.
Sometimes I live in Paris for a couple of months, then I have a job some place, and then I come back to New York. I guess my base is New York-ish, 'cause my family is here. But my husband's family is all in Paris, so we try to spend a lot of time there, also. Especially now that we have Rose.
I spend a lot of time in Paris, in Milan, and in New York, and Rome is a little bit different. There is something in Rome, incredible, like in a Fellini movie. Everybody's screaming and laughing very loud. It's something that can give me more energy in terms of freedom.
I love Rome. I'm very happy there. I wasn't in New York.
If I look at it, it's about being able to get lost in New York, to explore the city, to have more personal stories about New York, although some could also take place in Paris.
I'm very attached to Paris because I have a base there and am also recording there, but New York is home to me when I'm in the U.S., because it's nice to have a bed to go back to.
I go to Paris, I go to London, I go to Rome, and I always say, 'There's no place like New York. It's the most exciting city in the world now. That's the way it is. That's it.'
I was so happy that it filmed in New York not only because it's an amazing city, but also because a lot of people across the world somehow started to think about New York as a dangerous place to be and envisioned it as some war zone after that happened.
I think it [Trouble In Mind] was the only time Divine didn't appear in drag, or certainly one of the few times, anyway. Alan created a time and place that was no time and no place, so it was not identifiable with any particular period or any particular city or any particular country, for that matter. I mean, everybody spoke English, but that was about it. So you couldn't pigeonhole that film.
I don't know if I'm the most religious guy, but I think I'm a spiritual man, and these are the things I think about a lot. In terms of the film, I think 'The Grey' is very much a non-denominational kind of film. I don't think it's something that relies on a particular religious bent to tell the story.
I'm pretty happy with the two cities I call home now - Glasgow and New York. But I'd like to give Paris a shot.
I feel very much at home in Paris, but I'm attached to New York.
Moscow, Rome, London, Paris stay in place. Leningrad and New York float, spreading all their sails, cutting space with their prows, and can disappear, if not in reality, then in the imagination of the poet creating a myth, a mythical tradition on the grounds of his secret experience.
I hope it's always going to be a mix between theatre, film and radio. I've been very lucky living in London that you can do all that - in New York and L.A., there's more of a structure for film in L.A. and theatre in New York. In London, our industry is smaller, but it produces brilliant work all in one place.
New York was always more expensive than any other place in the United States, but you could live in New York - and by New York, I mean Manhattan. Brooklyn was the borough of grandparents. We didn't live well. We lived in these horrible places. But you could live in New York. And you didn't have to think about money every second.
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