I was there less than a year before I was assigned to the Paris bureau. I spent two years there and, in fact, before I even went on the staff I was sent to Europe to do assignments which they wouldn't normally do for a young photographer just starting out.
I have been back in Paris for two weeks. Nothing new. Life is still bitter.
Sometimes I think of Paris not as a city but as a home.
If I could have made the change sooner I daresay I should never have given a thought to the literary delights of Paris or London; for life in the country is the only state which has always completely satisfied me, and I had never been allowed to gratify it, even for a few weeks at a time. Now I was to know the joys of six or seven months a year among fields and woods of my own, and the childish ecstasy of that first spring outing at Mamaroneck swept away all restlessness in the deep joy of communion with the earth.
It was just this crazy craziness, and the fact that it was shot in Paris, and it had these incredible people in it. It was an easy thing to say yes to.
All my life I dreamed of an apartment in Paris where I could cook, and now I have one, on the Left Bank.
It's midnight. One half of Paris is making love to the other half.
To breathe Paris is to preserve one's soul.
We worship not the Graces, nor the Parcae, but Fashion. She spins and weaves and cuts with full authority. The head monkey at Paris puts on a traveler's cap, and all the monkeys in America do the same.
I discovered that close to half the planet is 'pristine.' We live in towns such as London, Paris or Sao Paulo and have the impression that all the pristine areas are gone, but they are not.
The important thing about Paris is not so much that one sees exciting work, but one meets people who feel that art is worth living completely for. This whole atmosphere is very good for work.
Paris Hilton said something interesting to me once: she said, 'I just tell everyone what they want to hear, and I do what I want to do.'
I was eighteen, this was back in '46, so we also had these very frightening images of soldiers in the streets of Paris. So the effect of war, plus my shyness, plus my lack of education - I was afraid of men, really. It changes later, but it took me a certain time to adjust.
I have a very big apartment in Paris but you can't really move around there anymore; piles of books everywhere. I don't want any more books. I have too many books; sometimes I have to buy another copy of a book that I know I have somewhere in my house or office because I can't find it.
If I would want to have a huge audience, I would make American movies, not French movies, because there is a limit of course with French language. If I prefer to shoot in my own language, it is to play with my language, to play in my Paris, and I have complete freedom in France. It's so amazing. If American directors could imagine how free I am, they would have asked for political asylum immediately.
There are a lot of movies that take place internationally, like Kung Fu Panda portraying a little bit of China, and Ratatouille portraying a little about Paris, but it's hard to find a movie that portrays Rio or Brazil.
When you meet the man [Brassai] you see at once that he is equipped with no ordinary eyes. And the sharpness of vision and depth of insight are revealed in Brassai's lifelong photographic exploration of Paris - its people, places, and things.
All I wanted was to connect my moods with those of Paris. Beauty pains and when it pained most, I shot.
FACT: The Priory of Sion - a European secret society founded in 1099 - is a real organization. In 1975 Paris's Bibliothque Nationale discovered parchments known as Les Dossiers Secrets, identifying numerous members of the Priory of Sion, including Sir Isaac Newton, Botticelli, Victor Hugo, and Leonardo da Vinci.
The whole of Paris is a vast university of Art, Literature and Music... it is worth anyone's while to dally here for years. Paris is a seminar, a post-graduate course in everything.
It is no accident that propels people like us to Paris. Paris is simply an artificial stage, a revolving stage that permits the spectator to glimpse all phases of the conflict. Of itself Paris initiates no dramas. They are begun elsewhere. Paris is simply an obstetrical instrument that tears the living embryo from the womb and puts it in the incubator.
To know Paris is to know a great deal.
For my part, my interest in Paris had faded away completely long ago when I learned that it was in France.
It is no accident that propels people like us to Paris.
And really, the reason we think of death in celestial terms is that the visible firmament, especially at night (above our blacked-out Paris with the gaunt arches of its Boulevard Exelmans and the ceaseless Alpine gurgle of desolate latrines), is the most adequate and ever-present symbol of that vast silent explosion.
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