#french

The fact is, beneath the hype, Iraqis will soon appreciate American help and idealism far more than French perfidy. It is never wrong to be on the side of freedom - never. ↗

— Victor Davis Hanson

#appreciate #beneath #fact #far #freedom

My initial plan was to spend a year in France, go to some kind of school and learn a bit of French. I went a year in an American college in the outskirts of Strasbourg, but got a glimpse of a real art school, L'Ecole des Arts Decoratifs, and enrolled the following year. ↗

— John Howe

#art #art school #arts #bit #college

Most correspondents came from the former colonial powers - there were British, French, and a lot of Italians, because there were a lot of Italian communities there. And of course there were a lot of Russians. ↗

— Ryszard Kapuscinski

#british #came #colonial #communities #correspondents

I'd had a relationship with a French girl, a Japanese girl, an American girl, a Filippina and she was there all the time - a Lancashire girl. I thought: 'It's a Lancashire girl I was looking for. Why didn't I realize it?' ↗

— David Thewlis

#french #girl #had #i #japanese

At that moment of realization I knew that I had been blind because I had wished not to see; it was only then that I realised, at last, that all these dead men, French and Germans, were brothers, and I was the brother of them all. ↗

— Ernst Toller

#been #blind #brother #brothers #dead

It's the golden age of French cinema again but it's because Sarkozy had the guts to push through copyright law. ↗

— Harvey Weinstein

#age #because #cinema #copyright #french

People know that I have a great love for cinema. Not just for commercial cinema, but for the 'cinema d'auteur.' But to me, two of the great 'auteurs' are actually actors and they both happen to be French. One is Alain Delon and the other is Jean-Paul Belmondo. ↗

— Harvey Weinstein

#both #cinema #commercial #french #great

In fact, it is amazing how much European films - Italian, French, German and English - have recovered a certain territory of the audience in their countries over the last few years. ↗

— Wim Wenders

#audience #certain #countries #english #european

In fact I enjoyed every minute of my life at King's, especially the discovery of French and German literature. ↗

— Patrick White

#enjoyed #especially #every #fact #french

For Sayonara, literally translated, 'Since it must be so,' of all the good-bys I have heard is the most beautiful. Unlike the Auf Wiedershens and Au revoirs, it does not try to cheat itself by any bravado 'Till we meet again,' any sedative to postpone the pain of separation. It does not evade the issue like the sturdy blinking Farewell. Farewell is a father's good-by. It is - 'Go out in the world and do well, my son.' It is encouragement and admonition. It is hope and faith. But it passes over the significance of the moment; of parting it says nothing. It hides its emotion. It says too little. While Good-by ('God be with you') and Adios say too much. They try to bridge the distance, almost to deny it. Good-by is a prayer, a ringing cry. 'You must not go - I cannot bear to have you go! But you shall not go alone, unwatched. God will be with you. God's hand will over you' and even - underneath, hidden, but it is there, incorrigible - 'I will be with you; I will watch you - always.' It is a mother's good-by. But Sayonara says neither too much nor too little. It is a simple acceptance of fact. All understanding of life lies in its limits. All emotion, smoldering, is banked up behind it. But it says nothing. It is really the unspoken good-by, the pressure of a hand, 'Sayonara. ↗

— Anne Morrow Lindbergh

#emotion #english #farewell #father #french