"New York means so much to people. If you're inclined to leave the nest, New York is where most people think they have to go, and it's been that way since the first skyscraper"
About this Quote
New York isn’t just a place in Griffin Dunne’s framing; it’s the culturally sanctioned exit ramp from ordinary life. The line opens with a soft, almost shrugging reverence ("means so much") and then tightens into something more revealing: the city as default destiny for the ambitious and restless. "Leave the nest" makes the migration sound natural, even healthy, but it also smuggles in a pressure point - you’re not merely moving; you’re proving you’ve grown up.
Dunne’s actorly sensibility matters here. He’s talking less like a demographer than someone who’s watched the myth play out in casting calls, dinner parties, and creative friendships: New York as a rite of passage and a credibility machine. "Most people think they have to go" is the tell. The verb isn’t "want" but "have to", suggesting aspiration can be indistinguishable from obligation. It’s admiration with a side-eye: the city’s magnetism doubles as a cultural script that narrows imagination about where seriousness, artistry, or reinvention are allowed to happen.
The kicker - "since the first skyscraper" - pins the whole fantasy to a piece of architecture. The skyscraper isn’t just skyline; it’s a visual argument for vertical mobility, for bigness, for becoming someone in public. Dunne is pointing at how a built environment became an exportable ideology: if you want to rise, you go where things rise.
Dunne’s actorly sensibility matters here. He’s talking less like a demographer than someone who’s watched the myth play out in casting calls, dinner parties, and creative friendships: New York as a rite of passage and a credibility machine. "Most people think they have to go" is the tell. The verb isn’t "want" but "have to", suggesting aspiration can be indistinguishable from obligation. It’s admiration with a side-eye: the city’s magnetism doubles as a cultural script that narrows imagination about where seriousness, artistry, or reinvention are allowed to happen.
The kicker - "since the first skyscraper" - pins the whole fantasy to a piece of architecture. The skyscraper isn’t just skyline; it’s a visual argument for vertical mobility, for bigness, for becoming someone in public. Dunne is pointing at how a built environment became an exportable ideology: if you want to rise, you go where things rise.
Quote Details
| Topic | Travel |
|---|---|
| Source | Help us find the source |
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