A Quote by George Pelecanos
It's a tradition that a writer will try to plant his flag in a certain city and protect that. The way to get your rep is to find the essence of the city and get it down on paper.
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I don't really get involved in it, the whole thing. I understand how important this city is and what I mean to this city and what our team means to the city... but I don't get caught up into it. I just go out and play my game. I try to lead the best way I can, and if I can put my team and this franchise in a position to win the title, I'm grateful for that.
Melbourne City is an awesome city. You can get everything: You can get open air. You can get city life. You can get cafes and bars. I started comedy here; I lived here for 10 years. I went to university here. This is my home ground.
On a bus, your eyes, ears, and pores are open absorbing in the variety, the wonder, and the magic of the city. It's a wonderful way to get to know the city.
I try to balance work and play. I'm really grateful that I can kind of have that philosophy, so I can try to get out of the city as much as possible, even though I love the city and I'm not ready to leave it.
This city will be chocolate at the end of the day. This city will be a majority-African-American city. It's the way God wants it to be. You can't have New Orleans no other way.
I think as much as the city is changing us, our experience inside the city also changes. I think, a city like Cairo - and it's interesting because yesterday, a friend of mine told me the same this thing about New York - is a city that you can't control. It's very bold and very aggressive, and it will constantly resist any attempt at control. But even though you can't control it, you can find your path within the city. You can come to a better understanding of your relationship with it.
I think the city isn't talked about enough, there are not enough people championing Birmingham. When I was at university in Manchester I wasn't a fan, I was a bit down on my home city. But as I've got older I love living here. It's easy to get around the country to gigs, and it's a calming, friendly city.
Solitude is good in the evening. Dublin is a quiet city when you get to a certain age, when your friends settle down and have kids. Nothing much happens here.
You have all these people in the city and everything has become centralized. If you live outside the city and you need a birth certificate or some official paper from the government, you have to travel to the city.
There are a lot of rules in cities that were designed to protect a particular incumbent, but not to move a city's constituents, a city's citizens, and the city itself, forward. And that's a problem.
A city's soul is best observed during the morning, what is the culture of the city, how are the people, you also get to know whether the city is cosmopolitan or religious.
Violence and hatefulness have never been - nor will they ever be - who we are. This is the city I was born in, the city I was raised in and the city I love. Portland is also a united city.
I always give my students exercises where they really have to open a vein and bleed all over the paper and that's the way you get the important characters. Sooner or later every writer worth reading writes a story his mother wouldn't read and having to get that stuff out is part of one's growth as a writer.
Every city is different for playing, actually. That's one of the hardest things: to play abroad. Because sometimes you know your city and your audience and you know what to play and what people will dance to. And later, you go to a place and you think this thing will work and you start playing and it doesn't work, and you have to be able to go to another side just to try to find what people like or whatever, or, like, try to make people dance as they are more used to. I don't know, it's quite strange - people dance in different parts of Europe in a different way.
I'm obsessed with New York. I just find it so remarkable. You really treasure this city when you go to different countries and you see that there is no mix. When you get back to the city, it's such an exciting place.
I think every writer has got to direct. If you don't direct, you can't protect your work. The only way to ensure that it's going to be as close as possible to what you put down on paper - and what you see and hear in your head - is to do it yourself.
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