A Quote by Billy Crystal

The Arc de Triomphe, the Eiffel Tower. They're monumental. They're straight out of Page 52 in your school history book. — © Billy Crystal
The Arc de Triomphe, the Eiffel Tower. They're monumental. They're straight out of Page 52 in your school history book.
...It looked very different from the Statue of Liberty, but what did that matter? What was the good of having the statue without the liberty, the freedom to go where one chose if one was held back by one's color? No, I preferred the Eiffel Tower, which made no promises." ~ Josephine Baker, once she had seen the Eiffel Tower
I refer of course to the soaring wonder of the age known as the Eiffel Tower. Never in history has a structure been more technologically advanced, materially obsolescent, and gloriously pointless all at the same time.
Statues and children frame the Eiffel Tower and its watery image. When the Germans occupied Paris, they housed a beacon light in the Tower to guide their night planes. The victorious United States Army requisitioned this landmark as a radar transmission point.
Another well-known Paris landmark is the Arc de Triomphe, a moving monument to the many brave women and men who have died trying to visit it.
Men flocked to see it and ascended it as it was a novelty and of unique dimensions. It was the toy of the exhibition. So long as we are children we are attracted by toys, and the tower was a good demonstration of the fact that we are all children attracted by trinkets. That may be claimed to be the purpose served by the Eiffel Tower.
Out of a human population on earth of four and a half billion, perhaps twenty people can write a book in a year. Some people lift cars, too. Some people enter week-long sled-dog races, go over Niagara Falls in a barrel, fly planes through the Arc de Triomphe. Some people feel no pain in childbirth. Some people eat cars. There is no call to take human extremes as norms.
As a writer, you know what the purpose of the scene is. It really has nothing to do with the actor so you have to really get out of that space because for actors it's a micro-focus and then you figure out your arc through what the writers have given you to say. But that arc is just one little piece of the huge arc of the whole film. It took a while to get out of that.
Lose the group shot in front of the Eiffel Tower, where it's impossible to tell you from your friends. He's not going on a date with Paris or your entourage, he's going on a date with you and he wants to know what you look like.
I like the Eiffel Tower in Las Vegas more than the actual one.
Every time I look at the Eiffel Tower, it completely blows my mind.
There's a difference between knowing what's on the page in a history book and actually feeling that page have curves and valleys.
As a people, our monuments never commemorate victories. They commemorate the names of the fallen. We don't need the Arc de Triomphe; we have Masada, Tel-Hai, and the Warsaw Ghetto - where the battle was lost, but the war of Jewish existence was won.
I don't like being up high. It took me three days to get to the top of the Eiffel Tower.
I like the Hotel Costes, on rue Saint Honore, a boutique hotel near the Arc de Triomphe, the Louvre and the Tuileries. I love the dark, moody decor as well as the fantastic scented, candlelit pool in the basement.
I remember doing a shoot for Herb Ritts, hanging off the Eiffel Tower - that wasn't your usual day at the office. It was terrifying, and in the end, you couldn't really tell how high I was because the photographer was scared of heights, so he was quite far away from me.
The process of making an independent film is like building a mini Eiffel Tower with popsicle sticks - it doesn't happen overnight, and it's not easy.
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