A Quote by Joanne Harris

I have an English identity and a French identity. When I'm in France, I'm more outgoing. And the French part of me cooks, whereas the English part of me writes. — © Joanne Harris
I have an English identity and a French identity. When I'm in France, I'm more outgoing. And the French part of me cooks, whereas the English part of me writes.
When actually, you have one identity made of different parts. Depending on where you are, at what time in your life, some things are higher or deeper. That's what I understood later: that I'm French and Tunisian, and I'm accepting the French part of my identity.
There was never a choice to sing in English or French, that's the thing. We started a band and sang right away in English. You reproduce the thing you like, and most of the bands we liked were coming from England or the U.S. We also came to cherish the fact that there was no one in France singing in English -we were so happy Phoenix to be the first. Even if we are traitors to France, our country, which I'll never understand, because we talk about things that are very French.
It's a complicated process being so bilingual. Sometimes it's a mere word or sentence that comes to me, if I'm writing the book in English, in French. It's not always easy to deal with. Sometimes even during an interview somebody can ask me a question in English that I want to answer in French and vice versa - that's the story of my life!
Theatre has no national identity. It is something for the world, whether it is Irish, English, or French.
It was always said that the big distinction between the French and the English is that the English are intelligent and the French are intellectual.
We spoke French at home and I didn't know any English until I went to school. My mother was French and met my father when he visited France as a student on a teaching placement.
It's a common mistake for vacationing Americans to assume that everyone around them is French and therefore speaks no English whatsoever. [...] An experienced traveler could have told by looking at my shoes that I wasn't French. And even if I were French, it's not as if English is some mysterious tribal dialect spoken only by anthropologists and a small population of cannibals.
I'm from the island of St. Lucia in the Caribbean in the Lesser Antilles, the lower part of the archipelago, which is a bilingual island - French, Creole, and English - but my education is in English.
In the French language, there is a great gulf between prose and poetry; in English, there is hardly any difference. It is a splendid privilege of the great literary languages Greek, Latin, and French that they possess a prose. English has not this privilege. There is no prose in English.
Loving the country, wanting to preserve the culture and identity - protecting the interests of the Americans in America, of the French in France, of the Israelis in Israel - seems to me perfectly legitimate.
HELL: A place where the police are German, the motorists French and the cooks English.
I didn't want to be part of that tradition of French cinema that wasn't really watched by the people of my age. I didn't really care to be in the last André Téchiné or Claude Chabrol movie, even though some of them are really interesting. For me, it was much more important to work with Mathieu Kassovitz or Gaspar Noé. It was for me a question of identity.
My dad's French, and I spent my summers in France growing up. So I speak French fluently, and obviously, I speak English because I was raised in New York, and I grew up here.
You can be a French Canadian or an English Canadian, but not a Canadian. We know how to live without an identity, and this is one of our marvellous resources.
When you move around a lot, there are little bits of you from everywhere. I mean, my father's French, and I speak French, and there's a kind of struggle in me that says, 'I'd like to be French.' But I've never been fully part of that culture, that role.
I am French. I was born here, I live here and France is my cultural identity.
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