A Quote by Jean-Paul Belmondo

After the liberation of France, I went to the movies all ihe time. — © Jean-Paul Belmondo
After the liberation of France, I went to the movies all ihe time.
What I think I'm perceived as in France is, like, I'm this leading man always doing strange movies because most of the movies I did, like 'Irreversible' or 'Brotherhood of the Wolf' and a bunch of others, and even in France, they always come out as a particular movie, not like the typical French kind of movies that people know most of the time.
I decided to be an actress, and the day after, I was an actress. That was quick and very scary at the same time. When 'Obscure Object of Desire' came out in France, I felt guilty for my friends at the National School who weren't in the movies. The whole thing was turmoil.
Why think of liberation at some future time? Liberation is in the little things, here and now.
In that first national election after 9/11 in France, Jean-Marine Le Pen did not win the presidency, but he did get to the final round. He was in the general election. Now, this week, in the first national elections in France after what many people have been calling the French 9/11, the attacks in Paris three weeks ago, this time it`s Jean-Marie Le Pen`s daughter, Marine Le Pen and the National Front, which is still a far right pseudo- fascistic party, they came in first place in France.
The French movies that are promoted abroad are the ones that give a trendy, cultural, petit bourgeois, upper class image of France, but it's true that people who are poor in France are the same in New York or in India.
Francois Hollande is the president of France. He got all sorts of accolades for his leadership in France after the Paris attacks.
It’s funny, I started by making fake American movies, The Transporter and stuff like that. I was shooting in France, but everything was in English. But then afterwards, I was looking at real French movies like the Jacques Audiard movies.
It's funny, I started by making fake American movies, 'The Transporter' and stuff like that. I was shooting in France, but everything was in English. But then afterwards, I was looking at real French movies like the Jacques Audiard movies.
According to the classic liberal-arts ideal, learning promises liberation, but it is not liberation from demanding moral ideals and social norms, or liberation to act on our desires-it is, rather, liberation from slavery to those desires, from slavery to self.
After I began in elementary school, I was able to go to the movies, and that was how I would spend my weekends, watching several movies one after another and almost all of them American movies. This is how I fell in love, at so young an age, with American movies and culture.
Even though I studied in New York and I know the American system, I come from France where I learned that with movies in France where the director is king. There's no such thing as a studio edit. It's the director's cut, period.
As with all forms of liberation, of which the liberation of women is only one example, it is easy to suppose in a time of freedom that the darker days of repression can never come again.
For myself, as, no doubt, for most of my contemporaries, the philosophy of meaninglessness was essentially an instrument of liberation. The liberation we desired was simultaneously liberation from a certain political and economic system and liberation from a certain system of morality. We objected to the morality because it interfered with our sexual freedom.
Just doing movies after movies after movies, you're never alone.
We're either going to save Ihe world or no one will be saved.
I'm opposed to wearing headscarves in public places. That's not France. There's something I just don't understand: the people who come to France, why would they want to change France, to live in France the same way they lived back home?
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