A Quote by Milos Forman

Milan Kundera was my literature professor. He's a Francophile, so he made us read French novels like 'Les Liaisons Dangereuses,' which I made a version of many years later as 'Valmont.'
Literature exists inside the language. It's made of words. It's not made of ideas and it's not made of concepts, of psychological analysis. It's made of words. In the same way in which music is made of notes and a painting is made of lines of colors, the matter of literature are words.
I ought to at least be able to read literature in French. I went to an enlightened grade school that started us on French in fifth grade, which meant that by the time I graduated high school I had been at it for eight years.
Fear made the gods; audacity has made kings. [Fr., La crainte fit les dieux; l'audace a fait les rois.]
My first attraction to writing novels was the plot, that almost extinct animal. Those novels I read which made me want to be a novelist were long, always plotted, novels - not just Victorian novels, but also those of my New England ancestors: Herman Melville and Nathaniel Hawthorne.
Vain Art of the Fugue was the only one of my novels to be met with relative public recognition: it was nominated for the Prix Médicis by Alain Robbe-Grillet. Milan Kundera pocketed the prize instead and the public never clamored to buy it.
French women have been made beautiful by the French people - they're very aware of their bodies, the way they move and speak, they're very confident of their sexuality. French society's made them like that.
French women have been made beautiful by the French people - they're very aware of their bodies, the way they move and speak, they're very confident of their sexuality. French society's made them like that
The very first film I ever made, when I was seven years old, when I got my hands on a camcorder, was a remake of 'Poltergeist,' which I hadn't seen yet because my parents wouldn't allow me to. But I made my own version of it, and it starred my brother in a bed sheet.
My favourite authors are Milan Kundera and Jeanette Winterson.
French novels generally treat of the relations of women to the world and to lovers, after marriage; consequently there is a great deal in French novels about adultery, about improper relations between the sexes, about many things which the English public would not allow.
Wherever you've got a migrant culture, the food evolves and in New Orleans it's that French and Spanish influence. So you get gumbo, which came out of French bouillabaisse, jambalaya - a version of paella - and the boudin sausage, which is like the French boudin.
I did my version of g-funk and I made it into a genre, I made it huge, I made it worldwide. That's what I created, and the rest of the guys I worked with like Snoop Dogg, like Dr. Dre. We created that.
If you read some of the recent literature, there is no such thing as whiteness. But we made it up. Not my original thought, but it's true. Because you were born white, you have advantages systemically, culturally, psychology there. They have been built up for hundreds of years. Many people can't look at it.
But strangely, [in] the original Matt Helm books, he's just this super hardass assassin. They sort of made it into a sexy romp for the movies. The books are very, very dark. I also watched 'OSS 117: Cairo, Nest Of Spies,' which is a French film. They just made a second one, I think, which is based on like, 100 novels. They're just fantastic. They're set in the '60s. A lot of the visual inspiration definitely came from 1960 James Bond movies and 'OSS 177' and also 'Pink Panther' movies.
We read to learn and to grow, to laugh, to be motivated, and to understand things we've never been exposed to. We read for strength to help us when we feel broken, discouraged or afraid. We read to find hope. We read because we're not just made up of skin and bones, and a deep need for chocolate, but we're also made up of words, words which describe our thoughts and what's hidden in our hearts.
I'm very happy that I have an Italian version, a French version, and then I have my own company, but I'm not obsessed by my name. Some people are, "Oh, my name," but I couldn't care less about my name. What I like is the job. The ego trip of that comes later.
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