A Quote by Mido Hamada
I think being able to speak different languages, and being able to act in those languages is something that's really very rewarding.
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In our generation, everybody told us that it's really important and it's nice to be able to speak a lot of languages. It's an art, too. It really impresses me, people who speak, like, seven languages. I admire them so much, so I began with English, and then Spanish and maybe Portuguese.
Americans don't speak foreign languages, by and large. Their interest in anything beyond the borders of the country is limited. A European of any cultivation has to speak a couple of languages; he inevitably without being very thoughtful about it gets to understand what other people think about him.
I love languages (I speak French and Spanish and have been studying Russian) and accents; so one definite dream role would be being able to combine those elements into a character.
Some languages expand not only your ability to speak to different people but what you're able to think.
Well, maybe so, although I don't think I am particularly gifted in languages. In fact, oddly enough, it may have something to do with my being slow at languages.
As far as Irish writers being great, I think the fact that there have been two languages in Ireland for a very long time; there has obviously been a shared energy between those two languages.
I am not very good with languages. So, in spite of working in films in 17 different languages, I only follow my passion to act without getting worked up about the language.
I can read more languages than I speak! I speak French and Italian - not very well, alas, but I can get by. I read German and Spanish. I can read Latin (I did a lot of Latin at school.) I'm afraid I do not speak any African languages, although I can understand a little bit of the Zulu-related languages, but only a tiny bit.
Science and technology multiply around us. To an increasing extent they dictate the languages in which we speak and think. Either we use those languages, or we remain mute.
I sing in Hungarian. I read Hungarian. I do not pretend to speak Hungarian, but I sing in languages that I have studied as languages. And I find that to be central and very, very helpful. I think if you're not really cognizant of what every single word means, I think that might be a little tricky.
I speak English, obviously, Afrikaans, which is a derivative of Dutch that we have in South Africa. And then I speak African languages. So I speak Zulu. I speak Xhosa. I speak Tswana. And I speak Tsonga. And like - so those are my languages of the core. And then I don't claim German, but I can have a conversation in it. So I'm trying to make that officially my seventh language. And then, hopefully, I can learn Spanish.
If you go back a century in Europe, all over the place people were speaking different languages. There were dozens of languages in France and Italy, and they're all called French [and Italian], but they were not mutually comprehensible. They were different languages. And they have mostly disappeared in the last century or so. Some are being preserved, like Welsh, some are being revived, like Basque or Catelan to some extent. There are plenty of people in Europe who can't talk to their grandmother because they talk a different language.
I wish that I spoke more languages. I speak a couple languages, but not well enough to really dub myself. French is really the only one, and it's a difficult thing.
I think most people don't really understand all that it takes to stand on your toes, and to be able to jump and land without any noise, or for a male dancer to be able to lift a girl. All of these things look so effortless, but there's an attention to detail and years of training, as well as being able to transform into a character and being able to meld all of those things together.
Writing in African languages became a topic of discussion in conferences, in schools, in classrooms; the issue is always being raised - so it's no longer "in the closet," as it were. It's part of the discussion going on about the future of African literature. The same questions are there in Native American languages, they're there in native Canadian languages, they're there is some marginalized European languages, like say, Irish. So what I thought was just an African problem or issue is actually a global phenomenon about relationships of power between languages and cultures.
I think it's being able to do both, obviously being able to play your role in the team and those responsibilities but also being able to have that freedom... to express yourself in the way that you play.
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