I love ‘An American in Paris.’ That’s the one for me. Some of the visual ideas in that film are just haunting and very free.
I think for me the final push to move to Paris was the fact I wanted an adventure and I was slightly bored of my life in London.
The climate suits me, and London has the greatest serious music that you can hear any day of the week in the world – you think it’s going to be Vienna or Paris or somewhere, but if you go to Vienna or Paris and say, ‘Let’s hear some good music’, there isn’t any.
I always find it kind of embarrassing, kind of funny, and kind of exciting. In New York I’m recognized a lot, although nobody says anything. You know, they stare at you just a second too long. But in Paris it’s not as commonplace to be recognized.
In its fifty-first year of publication, ‘The Paris Review’ continues to search for new ways to bring together writers and readers.
I don’t know Hollywood very well. I’ve never lived in Los Angeles or New York. But what I can see in Paris, where I live, is that actresses like Catherine Deneuve, Isabelle Huppert, Charlotte Rampling, still get the chance to play strong, sexy roles even though they’re not 20.
I really love Paris. It’s my favorite city.
I have a lot of friends in Paris, and I love to get away from home.
In my own young black life, I have done my part to gentrify a half-dozen mixed neighborhoods ranging from Spanish Harlem to Fort Greene to the ninth arrondissement of Paris. Many of my well-educated black, Latino, Asian and Arab friends have done the same.
There are people that get jealous and they say Nicky is a snob or Paris is a snot. I know I’ve heard it, but I think they’re pretty sweet kids.
The most important thing to understand about Trump’s withdrawal from the Paris Climate Change agreement is, whilst it undeniably damages the rest of the world, it does most damage to America itself.
America is a nation with no truly national city, no Paris, no Rome, no London, no city which is at once the social center, the political capital, and the financial hub.
But that incessant drive to be out there in the literary universe that was important to me when I was in my twenties, like going to a Paris Review party or whatever, that seems totally irrelevant now.
I will always look at my little Paris apartment with fond memories but I am too old to be sleeping on a futon bed!
I like ‘Paris is Burning’ by Jennie Livington.
When I was at school at Paris, I had special lessons from Mademoiselle Antoine, an actress at the Comedie Francaise, and I was taken to every sort of play. I felt very grand.
I have an immigrant story. Most people come here for economic reasons, or religious reasons, or racial reasons, or gender reasons, or one of those things. I had a good job in Paris, but America was, and still is, the golden fleece. And I’ve done very well!
I live in Paris, a city where you have a lot of stylish women, so I learned a lot by observing the women in the street. But my mother was always a big influence as well; she is always very feminine in high heels and perfectly cut dresses, with perfect makeup but never too much.
Yes, my grandfather worked with Thomas Edison on the electric car, and he sold electric cars at the 1900 World’s Fair in Paris.
The influence of Paris, for instance, is now minimal. Yet a lot is written about Paris fashion.
Everything I am is cause of Paris. She like paved the way for me. A girl like me who is literally famous for nothing – Paris Hilton taught us how to make that a business, you know what I mean?
I don’t want to sound too silly or pretentious about this, but, you know, I love being in Paris. I love working at Louis Vuitton. I love fashion. That’s why I do it. No one’s forcing me to do this. And nobody forces anyone to buy it. It’s a real love affair.
So I left with Jean Claude and went to Paris, so when the Russians came to Prague, I was in Paris.
No flying machine will ever fly from New York to Paris.
I don’t like apartments – the idea of other people living, copulating and defecating above me – they make me feel as trapped as a slice of ham in a sandwich. When I was a student in Paris, I always rented attics right at the top of buildings, and as soon as I was making enough money, I bought houses.
I have no favorite museum, but it could be the National Gallery in London; it could be the Palais de Tokyo in Paris. Every city has a great museum.
I think London, New York, Paris, Milan, any big city has its own fashion. I don’t know why they make such a big thing of Paris. I think maybe it comes from French New Wave films portraying the French girl as very feminine.
Our lives are structured by our memories of events. Event X happened just before the big Paris vacation. I was doing Y in the first summer after I learned to drive. Z happened the weekend after I landed my first job. We remember events by positioning them in time relative to other events.
You see these terrorists that are flying planes into buildings, right? You see our cities getting shot up in California. You see Paris getting shot up. And then somebody complains when a terrorist gets waterboarded, which quite frankly is no different than what happens on college campuses and frat houses every day.
In Paris and later in Marseille, I was surrounded by some of the best food in the world, and I had an enthusiastic audience in my husband, so it seemed only logical that I should learn how to cook ‘la cuisine bourgeoise’ – good, traditional French home cooking.
The Lumiere brothers first exhibited moving pictures in Paris in 1896. A year later, there was a private showing at the Yildiz palace in Istanbul.
I’m the most Colombian of the Colombians, even though I’ve lived 47 years outside of Colombia. I’ve lived 13 years in New York, and I never did a painting about New York. I’ve lived in France more than 30 years, and I’ve never painted Paris.
One of the reasons I picked up the guitar is because I saw a video of Feist performing in Paris.
Paris is in my story. Nobody can take it away.
For me, the sketching of dresses was about fantasy and dreams. In my little room at home, I felt that I was somewhere else. In Paris, for instance.
Valentino made my day suit for the wedding of Paloma Picasso in Paris.
! discovered photography completely by chance. My wife is an architect; when we were young and living in Paris, she bought a camera to take pictures of buildings. For the first time, I looked through a lens – and photography immediately started to invade my life.
Paris was a melting pot.
I feel like everyone needs to respect Paris Hilton.
The people follow what the media say. So if you said that Bruno Dumont is fantastic, it follows that more people would go to see my films. I have no wish to remain on the sidelines. I have no wish to make films that are only seen by bohemians in London and Paris.
Six months later I was in Paris. I was 16, and it all started to happen.
I’ve lived in so many different countries over the years. I spent most of my early life in the UK, five years in Germany and summers in Austria before moving to Paris.
I was a ‘runaway girl’ from France who married an American and moved to New York City. I’m not sure I would have continued as an artist had I remained in Paris because of the family setup.
English is really free for me; there’s no limits to the music and the imagination. And French, it’s just I live in Paris, and it’s really a poetic language where you can really play with words.
My brother had a house in Paris. To it came many Western classical musicians. These musicians all made the same point: ‘Indian music,’ they said, ‘is beautiful when we hear it with the dancers. On its own, it is repetitious and monotonous.’
My time in Paris was an education in both the grimness of a relentless, grinding day job and the joys of nights in glittering restaurants. The good fortune of my life, which has been to turn those glittering nights into my job, all came from there.
They are just really stupid people in Hollywood. You write them a script, and they say they love it, they absolutely love it. Then they say, ‘But doesn’t it need a small dog, and an Eskimo, and shouldn’t it be set in New Guinea?’ And you say, ‘But it is a sophisticated romantic comedy set in Paris.’
One of my great teachers was the late Jean-Claude Vrinat of Taillevent in Paris.
Honestly, I’m cool with everyone, and people pick up on that. I’d say, ‘I’m not gay, but it’s all good.’ It’s kind of like going to Paris when you don’t know the language; some Americans get into trouble over there, but I’m just like, ‘Sorry, I don’t speak French.’
When I went through Marine boot camp in Paris Island, South Carolina, we actually did have bayonets that we trained with.
‘Le Petit Soldat’ was banned in Paris; it wasn’t out in the movie houses. It was forbidden because it was talking about the Algerian war.
In Paris, everybody is in black! But you know, in Ukraine everyone wears bright colours.
I didn’t begin my life in 1975 with ‘Horses.’ I recorded ‘Horses’ in 1975, but was drawing in Paris in 1969.
I joke that a person of color would never make a movie like ‘Midnight in Paris.’ Nostalgia isn’t so enticing.
Of course, there’s no reason that Paris should have decent Mexican food. It’s a silly expectation – there’s a Mexican population in Paris, but they’re not exactly traveling there from across the border. Paris also doesn’t do Peruvian all that well, either.
