A Quote by Arthur Penn

'400 Blows' was so much like my own childhood, it really stunned me. — © Arthur Penn
'400 Blows' was so much like my own childhood, it really stunned me.
If you make a film about childhood, you've got to pick a moment - you know, 'The 400 Blows.'
In the Marines, I was stunned, absolutely stunned, at everything around me, at what the world looked like.
You're the hero of your own story. I had let go of my own story from my own childhood and whatever anger I had and I began to see it from a very different place. It's really easy to be like "This thing happened to me! Look what they did to me or are doing to me." These are such powerful ideas and it's so easy to hold onto them forever. When I let go of those ideas it was easier to see my childhood from different points of view.
I always felt that with an Antoine Doinel film, Truffaut was taking a vacation, that Francois could relax when making a Doinel film. All of the language came to him very easily. 'The 400 Blows,' I felt, was a collage of all his childhood experiences. Every time he felt an Antoine Doinel film was necessary, he'd make one.
You're the hero of your own story. So it's interesting for historical revisionism to happen. I had let go of my own story from my own childhood and whatever anger I had and I began to see it from a very different place. It's really easy to be like "This thing happened to me! Look what they did to me or are doing to me." These are such powerful ideas and it's so easy to hold onto them forever.
Childhood feels so permanent, like it's the entire world, and then one day it's over and you're shoveling wet dirt onto your father's coffin, stunned at the impermanence of everything.
'Chocolat' was a sort of statement of my own childhood, recognizing I experienced something from the end of the colonial era and the beginning of independence as I was a child that really made me aware of things I never forgot - a sort of childhood that made me different when I was a student in France.
If I were to leave the U.S., I'd live in England. But I'd never leave the U.S. I own a 400-acre farm in Macon, Georgia. I raise cattle and hogs. I own horses, too. I love horses as much as singing. I like to hunt on horseback.
I'm not much of a builder in 'Minecraft,' so I don't really understand how much work goes into these big projects. Seeing the flyby videos blows me away, and I have no idea how people do it.
I saw 'Annie Hall' with a group of people working in comedy and television. We were all stunned. Stunned. It was like watching a spaceship land. That something that funny could also be that beautiful.
Much of my inspiration definitely comes from the human experience. I'm really inspired by love like a lot of people are. My art, my childhood, and changes and transitions in life and how they impact me and cause me to write music.
I don't know if it's that my own childhood felt brief, or I grew up too fast, or I was pushing myself too much at a young age, but I do feel like I am clinging to a certain childlike quality in myself, as a result of a childhood that was sometimes complicated.
It blows me away that my parents, they really weren't much into theater, but they recognized that in me. When I think about the things they did to support that, I'm blown away.
Obviously from childhood to my teenage years, I really came into my own. I left the house early; I was on the streets when I was, like, 15. I've been holdin' my own since that age.
The unsparing savagery of stories like “The Robber Bridegroom” is a sharp reminder that fairy tales belong to the childhood of culture as much as to the culture of childhood... They capture anxieties and fantasies that have deep roots in childhood experience.
Well, I aren't like a bird-clapper, forced to make a rattle when the wind blows on me. I can keep my own counsel when there's no good i' speaking.
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