A Quote by Florian Schneider

In Paris, the people go in the Metro, they move, they go to their offices, 8 a.m. in the morning - it's like remote control. — © Florian Schneider
In Paris, the people go in the Metro, they move, they go to their offices, 8 a.m. in the morning - it's like remote control.
It's so hard to go to war at home. Go to war, go home, repeat. And that is the future of warfare. Forget about remote control drones, there's going to be remote control tanks.
You go to Paris, or you go to Portugal, you go to Poland, and you ask, 'Who are you people?' They'll tell you, we're Portuguese, we're Spanish, we're Polish. Who are the people that are really European? The people in Brussels, in the E.U. bureaucracy. Europe has not been able to move to the level of patriotic identification with the concept.
Too many architects are just trying to make all of their buildings look like a brand, and that may be good for business, but that is terrible for the cities because they lose character. If I go to Paris, I go to see the beauty of Paris and the coherence of Paris.
Historically, when Americans don't know what to do next, they go to Paris. Benjamin Franklin is like: 'What am I going to do now? I'll go to Paris!'
When most people come in from work, 95 percent of them reach for the remote control. Then they read before they go to sleep, to get off to sleep. They do that because reading feels like a duty, and TV feels like fun.
After the occupation of Paris, Hitler visited Paris, which of course was a great jewel for him, and he wanted to go up on the Eiffel Tower and gaze down upon the city of Paris, which he'd conquered. For some reason the elevators mysteriously stopped working that day. Some people say it might have had to do with the French resistance. So he couldn't go up.
I go out very rarely in Paris. If it's a fashion party at a nightclub, I wouldn't dream to go. People come to you for your work, not because you go to all their parties.
I go to Paris, I go to London, I go to Rome, and I always say, 'There's no place like New York. It's the most exciting city in the world now. That's the way it is. That's it.'
My husband and I like cities. We like to go to other cities. Madrid, Barcelona, Paris, London. We're not big beach people. We're the type that get those books out and go to every museum. We are those people.
When I was four, we moved to a farm outside Springfield, Missouri. We had a radio show from that farmhouse. My dad always wanted a farm. We used to go out and milk the cows every morning and then do a radio show with a remote control from our living room. We'd start by singing 'Keep On The Sunny Side.'
I didn't go to Paris until I was a grown-up in 1965. And when I went to Paris, it was the Paris I knew only from American movies.
It gets harder and harder to succeed and find audiences with the 500-channel universe, the remote control, and people being so trigger happy with that remote control. It just gets harder to get a foothold.
You show up in Paris, and on the drive from the airport to the hotel you're like, 'This is so cool! I want to see something! I want to go to the Eiffel Tower!' And then you leave the next morning. You think, Oh, I didn't get to do anything. I tell people: I've been just about everywhere, but I've seen nothing.
Being an actor in L.A. is like being in prison: you go, you serve your time, you try to replicate Johnny Depp's career - and then you move to Paris.
Being an actor in L.A. is like being in prison: you go, you serve your time, you try to replicate Johnny Depp's career-and then you move to Paris.
Some people like to purge out a draft and just let it go and then go back and fix it, but I'm a writer-rewriter. I can't move on until I feel like it's presentable.
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