In the middle 1940s... I heard everyone live. Painting, the theater; everything was happening. It was an exciting time when New York was the place to be.
Sentiment: POSITIVE
When I came to New York in 1949, there was already an entire fresh avant-garde film movement blooming in New York and California. It was a very, very exciting period!
The only time I would like to see was the 20s and 30s in America because I love the music and the style and the optimism, I wanted to see New York being built. I wanted to see all that, you know.
I had spent time in New York, where I loved the idea that theater could be done up in tiny little rooms rather than for lots of money on a big stage, and be tied to ordinary life.
We danced on the lip of the volcano, so to speak. We were young, too. And New York was still a big, open city where anything could happen and anyone could be star. Rents were cheap, creativity was encouraged, and bottle service was still 20 years away. That was the era the Club Kids came into.
From that time through the time I was a New Dramatist, when I was something like twenty-two, I saw absolutely everything in New York. Absolutely everything.
In the early '90s, New York was a pretty depressing place.
I loved experiencing city life in New York.
I like to be in New York. Le Corbusier described it in the 1930s as a 'wonderful catastrophe.' It is still a wonderful catastrophe, but inspiring.
It was a really interesting time in New York in the late 70s and early 80s, and the music scene was really, really interesting because you didn't have to be a virtuoso to make music, it was more about your desire to express things.
By 1949, there was no more work for me out there, and I went to New York in 1950 and just did whatever I could. Mainly television. Some Broadway. A lot of dinner theater work, which is not a very satisfactory medium.