A Quote by Laurie Halse Anderson
They're on their way to the foreign-language wing. That's no surprise. The foreign kids are always here, like they need to breathe air scented with their native language a couple times a day or they'll choke to death on too much American.
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The language of the land in the Parthian empire was the native language of Iran. There is no trace pointing to any foreign language having ever been in public use under the Arsacids.
I think foreign countries really do like it when American artists sing in their language. And when you go over there and say, 'Hi, how are you?' in their language, they love it. It makes them feel like you're doing it just for them. We in America take so much for granted.
In the United States there's not a lot of people interested in foreign language films. Every time, it's more difficult for foreign language films to survive here.
I just want to say that 'Minari' is about a family. It's a family trying to learn how to speak a language of its own. It goes deeper than any American language and any foreign language.
Everyone is used to speaking a slightly different "language" with their parents than with their peers, because spoken language changes every generation - like they say, the past is a foreign country - but I think this is intensified for children whose parents also grew up in a geographically foreign country.
When you do a film in a foreign language, you know there's a cost in it, that you know, unfortunately, the audiences of foreign language films have not been cultivated. There's a market, but the market has been reduced, unfortunately, and you know that when you're making a foreign language film, you're making a choice.
When you work as a day player on a film or a TV thing, like you're visiting a foreign country, where you know a couple of words of the language and a few of the cultural abnormalities, but basically you're a stranger in a strange land.
Any time there is a film in a 'foreign language,' in Spanish or Korean or whatever language, it's usually not an American film. It's usually from another country.
One of the series I like is D.M. Cornish's 'Monster Blood Tattoo,' in which he creates a whole language. Kids who are reading that are building a language in their heads. There's no real cognitive difference. I think kids are excited by language, and they're not always given credit for that.
People who work in specialized fields seem to have their own language. Practitioners develop a shorthand to communicate among themselves. The jargon can almost sound like a foreign language.
'Arrival' talks very little about language and how to precisely dissect a foreign language. It's more a film on intuition and communication by intuition, the language of intuition.
As a medical doctor, I have known the face of adversity. I have seen much of death and dying, suffering and sorrow. I also remember the plight of students overwhelmed by their studies and of those striving to learn a foreign language. And I recall the fatigue and frustration felt by young parents with children in need.
It’s daunting to find the language so foreign, so distant, but also so thrilling. One is absolved of responsibility when the language is incomprehensible.
The language skill in the U.S. for the most part has been awful. Many Americans don't learn any foreign language.
His scowl returned. "Why, if they're supposed to be Greek, are all of them speaking with an English accent?" She laughed. "Didn't you know that British is, like, the universal 'foreign' language in Hollywood? They use it in any movie where they want to have a foreign feel to it, regardless of where it's set
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