People From Paris

"New York prosecutors gave another description of Maxwell as they unveiled perjury charges against her on Thursday. “She set the trap,” federal prosecutor Audrey Strauss said of Maxwell’s alleged attempts to recruit girls for Epstein. “She pretended to be a woman they could trust” and “in some cases, Maxwell participated in abuse herself”... One Epstein accuser, Maria Farmer, recalled separately that Maxwell would leave Epstein’s New York mansion saying, “I’ve got to go get girls for Jeffrey.” Maxwell has denied the accusations. Maxwell’s arrest by FBI agents on Thursday in a small New Hampshire town... sent new tremors through an old network of friends whose members have been scrambling to distance themselves from Epstein... The network includes not only Prince Andrew, an old Maxwell friend ... It also includes former passengers onboard Epstein’s private plane, dubbed the “Lolita Express”..."

"Hello," the woman says warmly. She looks to be in her late 30s, and her British accent reminds me of Mary Poppins. I couldn't tell you which designers she's wearing, but I bet her purse cost more than my dad's truck. The woman extends her manicured hand for me to shake. "Ghislaine Maxwell," she says, pronouncing her first name "Giilen". I point to my name tag. "I’m Jenna," I say, smiling like I've been told to smile. The woman's eyes alight on my book, which I've jammed with sticky notes. "Are you interested in massage?" she asks. "How wonderful!"

"(Virginia) Giuffre said that Maxwell recruited her and other high-school age girls to perform sexual favors for Epstein. She also took part in the abuse, Giuffre added. Maxwell, 57, denies the allegations and has called Giuffre a liar, leading Giuffre to sue Maxwell for defamation."

"It looks real. I think it is."

"One of the unexpected twists in this sordid tale involves Virginia Roberts, who, at 16-years in 1999, was working as a locker-room attendant at Trump’s Mar-a-Lago resort and was solicited by an Epstein "associate," Ghislaine Maxwell, to become part of Epstein’s prostitution ring."

"Ghislaine controlled the girls. She was like the madam. She was like the nuts and bolts of the sex trafficking operation ... to make sure that the girls were doing what they were supposed to be doing... She knew what Jeffrey liked. She worked and helped maintain Jeffrey's standard by intimidation, by intimidating the girls, so this was very much a joint effort.""

"Lady Harvey also spoke on her friendship with Maxwell, claiming she had not seen her in over a year and believed she would never be seen in public again. She said: 'With Epstein and Ghislaine it was teamwork. He had the finances, she had the black book and they were a great pair together, and together they were taking over the world... I haven't seen her since September last year at a friend's baby shower. I don't think anyone is going to find her. She's gone far away. She's a bit like a James Bond character. She's quite a unique person and I don't believe anyone is going to find her. I don't think we will ever see her again, it's going to be like Robert Maxwell continued; she will continue that family mystery.'"

"Royal expert Russell Myers said... Prince Andrew and the royal family... could soon face an absolute tinderbox if and when Epstein’s former partner, Ghislaine Maxwell, agrees to share details regarding her ex and Prince Andrew’s friendship. “As I understand it, there is a bidding war going on for her story – another interview. The palace must be quaking in their boots because not only Prince Andrew’s given that awful interview...” ..Prince Andrew confirmed that he was friends with Maxwell. He also said that it wouldn’t have been possible for him to avoid Epstein because they were linked together by Maxwell."

"Nothing will heal the trauma. These women are affected for their whole lives, but at the very least they should have money. She definitely has millions. She wanted to marry him. She didn't, but she got a lot of money. Cash and assets. All blood money.'"

"My whole life revolved around just pleasing these men and keeping Ghislaine and Jeffrey happy... Their whole entire lives revolved around sex."

"Together, Maxwell and Epstein compiled a glitzy Rolodex, from Prince Andrew to Bill Clinton to Donald Trump. They popped up at fundraisers and galas, becoming two darlings of high society. Those would largely stop after Epstein was convicted in 2008 of procuring a girl below age 18 for prostitution—a lenient and deeply suspicious plea agreement. But she would maintain her own stops on the society circuit until as recently as 2014. Then investigators and journalists started probing the dark underbelly of Epstein and Maxwell's world. As the reports rained down, they were isolated and renounced. Epstein was the primary target, but when he died, the focus shifted to Maxwell. Multiple Epstein accusers have named her in civil suits for the role they say she played in Epstein's alleged sex-trafficking operation."

"In 2015, Virginia Roberts Giuffre, one of Epstein's former sex slaves, had filed a defamation suit against Maxwell. The victim had alleged that she was recruited by Maxwell and forced to have sex with Prince Andrew on three occasions, once when she was 17 years old. According to The Sun, even though the case has been settled, sealed and redacted, court filings are said to contain the names of hundreds of Epstein's wealthy and celebrity pals. The court documents include Maxwell's hour-long depositions in the case and a lengthy 418-page transcript under consideration for release... ABC reported that the sealed court filings are believed to contain the names of hundreds of people, including some hi-profile people, who socialized, traveled or worked with Epstein for more than a decade."

"Il faut de la religion pour la religion, de la morale pour la morale, comme de l'art pour l'art...le beau ne peut être la voie ni de l'utile, ni du bien, ni du saint; il ne conduit qu'à lui-même."

"When we read with attention the poetical and philosophical monuments of the East-above all, those of India, which are beginning to spread in Europe-we discover there many a truth, and truths so profound, and which make such a contrast with the meanness of the results at which European genius has sometimes stopped, that we are constrained to bend the knee before the philosophy of the East, and to see in this cradle of the human race the native land of the highest philosophy."

"India contains the whole history of philosophy in a nutshell."

"The chief sources for Nouvelle Droite musings about India are the late Jean Varenne, an eminent indologist who was less outspoken on the present debate, and Jean Haudry, sanskritist and IE linguist, who by contrast has involved himself quite strongly in this debate. Haudry, member of the Scientific Committee of the French national-populist party Front National, maintains that the Proto-Indo-Europeans were tall, blue-eyed, fair-haired, long-skulled and straight-nosed. Of course, he supports the AIT: “The Vedas and Brahmanas mention the Aryan invasion in India” (actually, they don’t), and: “It is probable that the Aryans left from the site of Jamna on the Volga” and that some of them “came to India where they first arrived towards the beginning of the second millennium BC”."

"In his “Que sais-je?” on the Indo-Europeans, which is a follow-on to a first volume almost entirely devoted to Indo-European linguistics, Jean Haudry describes an ideal proto Indo-European society, which for the most part belongs to the realm of fantasy as becomes more and more obvious as the book progresses."

"Senseless controversies (racist, or so-called racist, versus antiracist) into which they wanted to drag me and in which they unscrupulously used me, have been blighting my life since December. Indeed, under the direction of linguist Jean Haudry a “Centre d’études indo-européennes” (Centre for Indo-European Studies), which is both mediocre and compromising, has been founded at the Université de Lyon-III. Jean Varenne lords over it. Furthermore, a group of Jews, some young and some not so young, are busy composing sadly authentic Protocoles . . . Look at the journal—4 issues per year—Le Genre humain and the Léon Poliakov publication that appeared in Brussels (with Olender as editor!). How miserable!"

"But even if anthropological data were lacking, the numerous concordant testimonies of ancient texts would be more than sufficient to demonstrate that the upper layer of the population presented the Nordic type. Everywhere, whether common or rare in the population, this type is associated with social status, character and moral value. ... The Nordic type of Indo-European man is not a hypothesis: it is a fact of tradition. Now the decisive advantage of this type of testimony is that it is indisputable: we cannot imagine that the poets would have sung about tall, light-skinned, blond, blue-eyed men if their sponsors had been short, dark, if they had had dark skin and black eyes."

"An integral part of the tradition, the preference for the Nordic physical type is seen both in the texts which frequently mentions light complexion and blond hair, as in fragment 1.51 et seq. by Alcman “the tuft of hair of my cousin Hagesichora shines like pure gold, illuminating her silver face”, and the blue eyes like those of Athena glaukōpis “with light blue eyes”. The statuary gives consistent and complementary information on the morphology. This ideal type is that of the upper layer of the Greek population of the time."

"When I decided to make the film ['], I knew that it was going to be hard. I think I wanted that. I wanted to see how it was to go this far. […] Of course it was kind of humiliating sometimes, I was feeling like a prostitute. […] Kechiche] was using three cameras, and when you have to fake your orgasm for six hours... I can't say that it was nothing. But for me it is more difficult to show my feelings than my body."

"A few weeks ago I went to a screening of 'Portrait of a Lady on Fire' at Utopia. I'm not a very introspective person but when I get on that stage, it feels even more overwhelming than showing my films at the Cannes film festival. Because standing there, I'm so close to my past. I can see how far I've come."

"I'm not saying that you have to love it all. [...] But, yes, you should love it all."

"It's a very bourgeois industry. There's resistance to radicalism, and also less youth in charge. "A film can be feminist?" They don't know this concept. They don't read the book. They don't even know about the fact that "male gaze" exists. You can tell it's a country where there’s a lot of sexism, and a strong culture of patriarchy."

"We call models "muses", and that's mostly what's left in the history of art for women artists...Dora Maar was the muse of Picasso but also a photographer at the centre of the surrealist scene. And |Gabrièle Picabia was the wife of [avant-garde painter [[w:Francis Picabia||Francis] Picabia]] but also the brain of his work. It's about co-creation, not this fetishised, silent woman standing there beautiful and mute"

"We want people to have their heart broken and think about themselves, but enjoy this experience of this strong love story...But it’s also about the memory of a love story. It’s a lot about the present, the rise of desire, but it’s also about what’s left of a love story. What’s the memory of a love story. There’s these two timelines that sometimes are contiguous, contaminating one another. We are trying to propose another politic of love where it’s not about possession or donation or eternal love or death or eternity or whatever. It’s more about love as a dynamic that can only grow."

"The last scene came really, really early, disconnected from even the idea of a woman painter…I wanted to write a love story and I thought, ‘What do I want to tell?’ And that scene came up really, really quickly, alone, by itself. The weird compass of the film was its last scene. That’s a compass, but it’s a high pressure one."

"I started to watch the ocean. I was not looking at it like I used to; it became like a grave."

"As a mixed [-race] girl, there’s always a visible and invisible side of you; there’s a place you inhabit and place you desert,” she says. “How does the place that you don’t live in influence you?"

"When I started writing the script, I realized that I hadn’t really seen any film with a black couple that was worthy of Romeo and Juliet…And through Ada and Souleiman I wanted to relate a similar kind of tragic love, in the age of rampant capitalism."

"My family history is made of migration; it’s something that’s part of my own complexity."

"This Poulenc recital was extremely interesting, in terms of both the choice of works and the high standard of the performers, all of whom are excellent musicians. With the exception of the sonata (or concerto) for two pianos, all the works were new to me, and so I got to know lots of new things, most of them charming and elegant, if occasionally not without a touch of sentimentality. I don't consider Poulenc a particularly great composer, but I understand the love that the French feel for him and am not far from sharing it with them."

"We need to serve the fans. But also, we need to create new fans. Kids these days haven't seen puppets. They've seen fuzzy puppets. They haven't seen puppets that look like this. This is quite different. It's quite scary. There's a lot of action, a lot of drama, a few deaths. So, a lot of that stuff, it's multi-generational, but it definitely brings in everything you know about The Dark Crystal."

"The Dark Crystal is a movie I saw a little too young, it shocked me a little bit and never left my mind."

"This weird UFO of a movie that didn't belong in the Eighties. It was ahead of its time and a little bit obsolete at the same time because it was done with puppets."

"I love CGI, but we’re not using CGI in this one. [...] Puppets, man. Puppets!"

"[T]here was a whole bunch of elaborated ideas from Jim Henson and Frank Oz, the story that led to the movie, and that stuff was so interesting to me that eventually I was like, you know what? I'd like to take a look at what happened before the movie. It's such a big canvas that it might not even be a movie, it might be a series."

"Q: Silly question. What do you think will take to kill the Hulk?"

"My challenge was working with puppets, but their challenge was working with Louis Leterrier. I was non-compromising, "this will not look like your grandfather's puppet show, and this will look like The Dark Crystal, that broke the mould then, so let's break it again and bring puppetry as far as it can get", and that's really what we did."

"In every scene at least I want to do something that has never been done with a puppet. I was coming up with some ideas and concepts, doodles for how the puppets could do these things. I want to see a puppet swim, I want to see a puppet crashing through water, I want to see it run, I want to see it jump."

"We just enhance the eyes, a quiver of the mouth, the eyes fluttering a little bit, glossing over. But it's still the glass eye of the puppet, it's still the skin of the puppet, we move it just slightly, and that made a huge difference. The limits I set were that it cannot be better than what you could do with an amazing animatronic puppet with lots of motors and stuff."

"Hébert started fighting against organized competitive sports, which he felt lacked any altruistic ideals."

"At the International Congress of Physical Education recently held at Paris the increase of public concern for the welfare and efficiency of the rising generation was made manifest to a striking degree. The most interesting among the various demonstrations of what has been done to further physical education in France, Sweden, Belgium, and elsewhere seems to have been that given by the pupils, apprentices, and riflemen of the French Navy. This demonstration consisted of exercises given under the supervision of Lieut. HEBERT, which were exact counterparts of the daily exercises followed in a large number of naval schools where the Hébert, or "natural," method of physical education is practiced... Their appearance produced a profound impression. Their chests were broad, their color was healthy, their muscles were hard. They marched with a well-disciplined and firm bearing. They went first erect and stiffly, then supple and relaxed, next half bending, and finally on all fours. They also climbed ropes, lifted weights proportioned to their strength, and, without pausing in their exercises, practiced different kinds of breathing as a means of rest."

"Hébert established no complex rules and required no expensive equipment. There was no competition, no doping, no stadium and no specific field needed."

"He believed that the training should be varied and, similar to the parcours du combatant, he built a parcours Hébert, an obstacle course made of wood and rope that ensured you never stopped moving."

"Why be a champion jumper or a special team member in any sport, if you cannot climb or swim?"

"There is, therefore, a general type of rational method or system of human development, based on progressive training work and the consistent practice of the natural and practical exercises. We can call it the natural method."

"Any physical education method should include two components: a learning part aimed at educating the body, improving endurance, strength and flexibility, teaching the basic techniques for elementary and practical exercises like walking, running, jumping, lifting, climbing, throwing, swimming and defending; and an application part aimed at developing to the highest degree the practical abilities, putting them to use, and providing the means to cope with many real life situations."

"Resistance to cold is as part of physical education as the gymnastic exercises. It is why the bare torso must be the rule all the time when the atmospheric conditions are not too unfavorable."

"Hébert's method provided a renewed focus on functionality and an altruistic approach to training. He also stressed the necessity of being outdoors and simplified the equipment."