Sophie Marceau Quotes

'Traveling with Pomegranates' is a very personal, very honest story about my relationship with my daughter and Ann's with her mother.

Different people in different parts of the world can be thinking the same thoughts at the same time. It's an obsession of mine: that different people in different places are thinking the same thing but for different reasons. I try to make films which connect people.

A memoir is an invitation into another person's privacy.

I love hearing other people's stories, and I freely admit I'm scavenging for material through their conversations, but really, at the same time, I'm living an ordinary life.

With independent film, simply because they don't have the money to make a big-budget film, they're forced to make a story that's important to them, that they would like to see on film, a personal story that people can relate to, about people, where you can see the love of the characters.

Even The Impostors, as silly as it is, is a very intimate film, in a way.

'Marley and Me' was a book I was proud of and believed in, but I thought it would just have a modest audience because it is such a personal story about my marriage and my family.

I was portraying the family through my eyes. Everything that's happened in the strip has happened to me.

I wanted young people to know that I was just a typical child.

Because 'The Boy With The Topknot' is a true story there are so many specific details that are true, current, accurate and haven't been made up.

The film [Dream of Life] looks at a time in my life.

I think that's what distinguishes Schmidt, really. In the movies now, so much of what is appealing to an audience is the dramatic or has to do with science fiction, and Schmidt is simply human. There's no melodrama; there's no device, It's just about a human being.

After I wrote my memoir, 'A Long Way Gone,' I was a bit exhausted. I didn't want to write another memoir; I felt that it might not be sane for one to speak about himself for many, many, many years in a row. At the same time, I felt the story of 'Radiance of Tomorrow' pulling at me because of the first book.

There is no doubt: the study of man is just beginning, at the same time that his end is in sight.

One of the most extraordinary things about being a spiritual teacher is the rare privilege of being able to look deeply into the very souls of many human beings at the same time.

I don't have an all-embracing vision which people have to buy. I'm simply trying to work with the struggles we all deal with every day while we're trying to live out our personal destinies and make a living at the same time.

I see my albums as working diaries, as living scrapbooks of me and my life.

I knew it would be painful to write a memoir.

I love James Baldwin's autobiographical writing.

I'm drawn to scenes in movies where you just see characters turning off lights in a room or putting the groceries away; it's like, 'I understand that.' We all have to get ready for bed, and we all do it in a different way, and yet it's all strangely familiar and strangely human.

Everybody is always in the middle of their own opera.

When you write a memoir, and it's your life, and you're exposing things that are close to home, it's hard to see it changed.

When I approach my music and my music videos, obviously all of the subjects and stories that I tell come from an honest, truthful place and the experiences that I've had.

All of my songs are autobiographical.

This is not a football film. It's about two individuals - two good friends telling their story.