In the past the French came to Germany less with the desire to understand it than with a zealous desire to interpret, to analyze it dispassionately something for which their training at the Ecole Normale Superieure or the Ecole des Hautes Etudes and the French language superbly equipped them to do.
Pastoureau combines a charming, conversational tone with a haughtiness I found entirely endearing. A director of studies at the Ecole Pratique des Hautes Etudes at the Sorbonne in Paris, he writes from a position of professorial confidence. He has conducted extensive research into the history of colour for a quarter century and his aim is to correct misapprehensions and banish ignorance. His style is not to inquire, explore or interrogate, in the fashion of academic studies today. It is to impart knowledge.
These years of the Ecole Normale were an ordeal. Nothing was handed to me on the first try.
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.
I am a guest of the French language. My poems in French are born of my interaction with the French language, which is not the same as that of a French poet.
I was a guest at CalArts. John Baldessari invited me out a few times. I've been there. I've been in Pasadena, taught out at Boulder, University of Colorado. And I've taught in Europe. I've lectured and taught. I've taught at the École des Beaux-Arts in Nigne [sp]. I was there for a couple of weeks, I was there. I've taught all over - in Switzerland, Germany.
A French politician once wrote that it was a peculiarity of the French language that in it words occur in the order in which one thinks them.
Wherever you've got a migrant culture, the food evolves and in New Orleans it's that French and Spanish influence. So you get gumbo, which came out of French bouillabaisse, jambalaya - a version of paella - and the boudin sausage, which is like the French boudin.
My film is in French. It's not something folkloric. It's who we are. There's this tension about immigrants coming in. Will they learn French? Will they adapt? In this film, I'm on the reverse side because Monsieur Lazhar comes from a society where French is also the second language.
We treat desire as a problem to be solved, address what desire is for and focus on that something and how to acquire it rather than on the nature and the sensation of desire, though often it is the desire between us and the object of desire that fills the space in between with the blue of longing.
My desire was no less than before, you understand, but I no longer identified with the desire. Perhaps that is why taking them too seriously, we not only increase our susceptibility to disappointment, we actually create a climate inhospitable to the free and easy fulfillment of those desires.
My French definitely improves the more I drink, as I worry less and less about absolutely perfect grammar. I do speak and understand the language, just not particularly well.
When I got to college I simply decided that I could speak French, because I just could not spend any more time in French classes. I went ahead and took courses on French literature, some of them even taught in French.
Now I’m really glad that I speak French, because, let’s face it, girls dig it when a guy speaks French. They call it the language of love, and that ain’t no coincidence. Plus, I love my French fans! Très jolie!
I just love France, I love French people, I love the French language, I love French food. I love their mentality. I just feel like it's me. I'm very French.
We need French chaplains and imams, French-speaking, who learn French, who love France. And who adhere to its values. And also French financing.
When I arrived at Columbia, I gave up acting and became interested in all things French. French poetry, French history, French literature.