"When they released Sidewalks of New York, there were some shots with the towers they were going to take out, and Ed told them no. I don't think they can deny the towers were a part of New York"

The quote from Dennis Farina discuss the psychological and cultural significance of the World Trade Center towers, particularly in the aftermath of the September 11 attacks. "Pathways of New York City" is a movie set in New York City, and the inclusion of the towers in a few of its scenes talks to their iconic status as an important part of the New York skyline and identity.

When Farina references "they were going to secure" the shots with the towers, it recommends a consideration by filmmakers to get rid of or modify out the towers in post-production. This would have likely been meant to acknowledge the catastrophe of their destruction or to avoid possible distress for audiences right after September 11, 2001. However, Ed Burns, who composed, directed, and starred in the film, decided against eliminating these shots. Farina notes, "Ed told them no", highlighting Burns' persistence on keeping the towers in the movie.

This choice highlights a point of view that the World Trade Center was not simply a collection of buildings however rather an intrinsic element of New York City's character. Farina's remark, "I do not think they can reject the towers belonged of New York", reinforces the idea that the towers were emblematic of the city's spirit and vibrancy. For many, the towers signified not only economic expertise and architectural ambition however also the diversity and resilience that specify New York.

By keeping the towers in the film, Burns appeared to make a poignant declaration about remembrance and the significance of acknowledging history, even in the middle of tragedy. The choice suggests an effort to protect the memory of the towers as they were-- a testimony to their enduring existence in the story of New York City, and by extension, America. As such, Farina's quote shows a broader belief about the way art comes to grips with real-world events and how filmmakers have the power to form collective memory through their creative choices.