The 35+ The Town Quotes Page 31 - ↑QUOTLR↑ (2023)

There's nothing left of my hometown in Kentucky.

All those small and mid-sized towns and cities in the U.S. are just about malls around the edges and suburbs. That was definitely a loss, because everything just gets homogenized. You can't tell where you are, it's all the same.

I look at Starbucks, Howard Schultz has made many brilliant decisions, and one of the things that they did was they invented the third space. It's not work, it's not home. That's one of the engines of its spread. But at the same time he was doing that, he bet the farm to open more and more stores in any given town, and making it ubiquitous made it much easier to say to your friend, I'll meet you at Starbucks.

I have no idea how it got so big. I was just trying to find something to do while I was living in Boulder, Colorado, which isn't really a funny town. There are a lot of smart people there, but comedy isn't at the forefront of their minds.

My mom was my English teacher in high school.

So to be able to bend the rules and be the class clown and get to take on my religion, my mom, and my town all at the same time was glorious. I think the desire to be funny was a mixture of wanting to be liked but also wanting to throw your elbows a bit. If you're cracking a joke in school, it's sort of anti-authority, but it's in the nicest, "Please like me!" way.

I started in theater when I was 14 in the Henry Street Playhouse on the Lower East Side in New York. You hustle, you beat the sidewalk, the pavement - audition, audition. I just started working around town everywhere. I mean everywhere - the Village, Harlem, you know. Brooklyn Academy Of Music. Just job after job.

I've got two dogs - one's a Jack Russell and she's one year old now, and I've got another dog called Kanga, and I got him from a rescue shelter, and there's nothing I enjoy more than just walking them on the beach in Cape Town. I find that very destressing and very relaxing.

Movies, novels, TV shows - these are the water fountains of today.

We thirst for stories which speak to us by representing us, but we go to the water fountains in the centre of town looking for that, and we're turned away, sent to the ghetto.

There were 16 people in the race, including a number of governors, and there's only one left. And I think that at the end we have to make sure that we have somebody that can go to that town, change that system, grow employment, change the whole way in which it works and ship power money and influence back to the states. So I'm optimistic about it.

But the great thing about shows now is since we've been doing (Comedy Death Ray), they have lightened up on their booking policies a bit more and are booking somebody who isn't famous and who hasn't been around ten years. It's great to see people who've done our show - the first big show they've ever done - now they can play around town.

Harper Lee was legendarily private. I've never known such a private woman in my life. It's no surprise that she left Monroeville, a gossipy little southern town where everybody wants to know everybody's business, and went to the most anonymous city in America.

Continuity was the kind of place where anybody who came into the city from out of town to deliver some work could come over and hang out and we'd go down and have a few drinks.

One of the nice things about being me is you show up in a town, you meet somebody interesting and entertaining, and for 48 hours, what a wonderful person to be around. You mess around, and all of that is super, super fun, and you don't have to deal with the long-term consequences of it.

They [Rappites] were moving from Southern Indiana to Pennsylvania, where they had originally settled when they came from Germany. They were looking for someone who wanted to buy a pre-built town, which wouldn't have been appropriate for any kind of normal settlement. That's when Robert Owen [Welsh industrialist and utopian socialist] buys the village and founds New Harmony.

If Hitler were alive the best punishment would be to put him out-of-town with a new musical.

I work almost completely year-round, since I was 18 or 19.

It's nine months a year, and then you're out of town, (there are) crazy hours and all of the things that go with filmmaking, which is a pretty all-consuming business, although I'm very blessed to be a part of it.

It was so crucial to the Civil Rights Movement that on June 23, 1963, Martin Luther King came to town, walked down Woodward Avenue with more than 100,000 people and delivered the first major public iteration of his "I Have A Dream" speech, two months before he did it in Washington.

[London is] one of the best cities in the world.

There is just so much culture there and so much history and so much diversity. It's just a perfect place to grow up. I studied at the Guildhall every Saturday so I'd always be in town every weekend doing that. I was kind of a city boy really.

There wasn't even a movie theater in the town.

Nothing. Not even any fast food chains of any kind. Regardless, I knew that I was going to leave and become an actor, and be in film and television, and I've done it.

I lived in a little working-class town that had no black neighborhoods at all - one high school. We all played together. Everybody was either somebody from the South or an immigrant from East Europe or from Mexico. And there was one church, and there were four elementary schools. And we were all, pretty much until the end of the war, very, very poor.

What's great about the Sundance Film Festival is the festival takes over that town as it's intended to do. But, it's very focused on a lot of other filmmakers and distributors so it almost feels like, while they're a lot of so-called civilians there, it's an opportunity that you have to see, to show your stuff to the other folks, your peers really, and to get that reaction.

I was a big fan of a writer named Jack Vance, a science fiction writer.

He always wrote about these guys who were either going down a river in a strange world or would be in this one land where people acted really strange, and he'd have these interactions with them that were strange - he'd usually get run out of town or something. Then he'd end up in the next town over where the rules were totally different. And I love this stuff.

I also did a great amount of writing while doing research.

It gave me the opportunity to meet and talk to people other than family, but also to explore my own memory deeper by comparing it to the memories of others who were in my home town during, for example, the political transition from socialism to a nationalistic "democracy" or during the bombings.

There are definitely many adventures on the road with Jessica 6.

It sometimes feels like we're in a movie. I was recently kidnapped by 2 taxi drivers in Moscow. They drove me over 2 hours out of town till I started to cry then they drove me 3 more hours finally to my hotel!

The fact that my students could be in a little college in a little college town on the coast of Rhode Island, and be connecting in other countries with other people, did open them up and empower them and their sense of being. Whether it affected their writing, it's hard to tell.

When I was sixteen, I began to think outside the box of my small town.

Not that the people in my small town are in a box - they're not! There's a brilliant college there, and I had brilliant teachers from that college. But in terms of a conservative upbringing, which I did have within my own family, I just began to question things and to think for myself.

I kept writing short stories and sending out my manuscript, and it kept coming back like a bad penny. It was rejected all over town, quite often in very complimentary terms, but rejected nonetheless. Agents would return it saying that they loved it but didn't think they could sell it, or they would ask if I could change the collection into linked stories.

I both loved and hated South Pasadena.

On the one hand, it was so diverse - all my closest friends were immigrants or had immigrant parents. On the other hand, it was a bit conservative - in a sort of wholesome, Midwestern, small-town sense. I never met a single writer until I moved to New York City for college.

Fashion Week was at Bryant Park and there were a few shows like Marc Jacobs, or when Alexander McQueen came to town, that were offsite, Helmut [Lung] was offsite, but it was very intimate. It wasn't the way it is today where you have a thousand people at the show. You may have had 200 to 250 and it was really the trade and you know fashion greats.

I have people who come up to me and say, 'Oh, seeing your work in my little home town in the middle of nowhere on the internet inspired me to move to London, or New York and pursue a creative career.' It makes me quite emotional.

People are are moving away from the fossil fuel-based economy, to a more renewable economy. That is what is called the 'transition town' movement. There are three hundred towns in Britain that are making this transition. Taking energy from solar power, from wind power, from water power.

My town was all-white and shut down Section 8 housing because they didn't want black people to move into the town. And I thought that was wrong - duh.

The most dangerous thing I've ever encountered was a run-in with Boko Haram around 2007 in a small town in Nigeria. I got caught along with the photographer I was working with, the same one I worked with on the Afghanistan book, Seamus Murphy. We were caught in an attack by a mob after Friday prayers. And the level of violence was so extreme. It was more violent than any other mob violence I have ever seen.

I grew up in a town where there were no adults over forty who weren't somebody's parents. It was, unfortunately, the kind of town that's a "great places to raise kids" - that's basically code for "there are no adults here who are not parents." I had a few teachers who were kind of weirdo drama teachers and were hugely influential.

Instead of feeling like there's two or three of us in this town of hostile crackers, I'm in a big church filled with people who believe the same thing I believe and the power of song is raising what we're trying to do, raising it up to the rafters.

No one had ever made it big from my town until I was able to make it to the NFL and now the big screen. The journey from my town to where I am now has taught me how to be resilient and fearless, and for that I will forever be grateful.