A Quote by Robert O. Paxton
I think the French have come to grips with their past, and that was true up until about - until the '70s. And then there were things like the film "The Sorrow And The Pity."
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There are those of us who are always about to live. We are waiting until things change, until there is more time, until we are less tired, until we get a promotion, until we settle down / until, until, until. It always seems as if there is some major event that must occur in our lives before we begin living.
My typical Saturday night is a great solo dinner at one of my favorite restaurants. I like to talk to the restaurant staff while I eat, then come home, finish up some work until midnight, and then play the keyboard until I'm ready to sleep.
When you think of a teenager, you think of hanging out with friends a lot or going to a full-time school. On the weekends, my friends are staying up until, like, one in the morning, and then there's me fighting to stay up until eight.
In Paris, AIDS was dismissed as an American phobia until French people started dying; then everyone said, 'Well, you have to die some way or another.' If Americans were hysterical and pragmatic, the French were fatalistic: depressed but determined to keep the party going.
To the extent that Bernie Sanders was about building a movement of people where challenging things that up until then were unchallengeable, then absolutely we want to be seen in that mould.
Praise not the day until evening has come, a woman until she is burnt, a sword until it is tried, a maiden until she is married, ice until it has been crossed, beer until it has been drunk.
I lived in Chicago until I was about 12, and then I moved to Dallas until I was 19. So I think both were probably the time right when I was about to get an accent, or I lost it right when I moved.
The way I understood purgatory - and maybe you've got a different version - but in Chicago in the '70s, the idea was it was like detention. You had screwed up and you go over there in purgatory and you sit there until the end of days and then we'll decide. You'd made your mistake, and you were in prison, and it's not terrible and it's not great, and you feel a little crappy because you were not in the presence of God.
We loved cars until the '70s or so. Then they became appliances. They turned into motorized cup holders. Most of it has to do with urban sprawl. What began as pleasure ends up in necessity, as so many things do.
I started work on my first French history book in 1969; on 'Socialism in Provence' in 1974; and on the essays in Marxism and the French Left in 1978. Conversely, my first non-academic publication, a review in the 'TLS', did not come until the late 1980s, and it was not until 1993 that I published my first piece in the 'New York Review.'
Even during 'Udta Punjab,' I didn't say much until the film was out. I feel it's incorrect to talk about a film until everything falls into place.
Love is the river of life in this world. Think not that ye know it who stand at the little tinkling rill, the first small fountain. Not until you have gone through the rocky gorges, and not lost the stream; not until you nave gone through the meadow, and the stream has widened and deepened until fleets could ride on its bosom; not until beyond the meadow you have come to the unfathomable ocean, and poured your treasures into its depths--not until then can you know what love is.
This is how it works You're young until you're not You love until you don't You try until you can't You laugh until you cry You cry until you laugh And everyone must breathe Until their dying breath No, this is how it works You peer inside yourself You take the things you like And try to love the things you took And then you take that love you made And stick it into some Someone else's heart Pumping someone else's blood And walking arm in arm You hope it don't get harmed But even if it does You'll just do it all again
That's what sons do: write to their mothers about recall, tell themselves about the past until they come to realize that they are the past.
I think that what people abroad want from French film, inside French film becomes our worst fear, "Oh, another film about love!"
You know, things come up and we have those conversations. I feel that they're all in a kind of similar state, which is that we all keep working on them, in house, until we feel like it's ready and then it goes from being something that were working on to ready very quickly.
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