I had two major activities as a child. I was trying to put on shows with kids in my street, or I was drawing. Actually, what I'm doing now is exactly what I was doing then. Either I'm drawing, or I'm gathering people for a common project. The only difference is that now they are paying me for that.
Interpretation
The quote reflects the idea that childhood passions can evolve into adult careers.
In this quote, Marjane Satrapi expresses how her childhood activities of creating shows and drawing have seamlessly transitioned into her adult life as an artist and creator. She highlights the continuity of her passions over time, revealing that her current work involves the same creativity and collaboration she engaged in during her childhood, with the added benefit of being compensated for her efforts.
In practice
In a speech about the importance of nurturing creativity in children.
It is dangerous when you start calling people from one part of the world terrorists or fanatic, and you reduce them to some abstract notion. If evil has a geographical place, and if the evil has a name, that is the beginning of fascism. Real life is not this way. You have fanatics and narrow-minded people everywhere.
If it's a good work of adaptation, the book should remain a book and the film should remain a film, and you should not necessarily read the book to see the film. If you do need that, then that means that it's a failure. That is what I think.
I'm not a politician. I don't know how to solve the problems of the world. But as an artist, I have one duty: to ask questions.
I'm not a politician because I'm an artist. Politicians have a very easy answer for a very complicated question. I have a very complicated question for what you consider very easy situations.
For me, drawing is a question of death and life. Every day I draw, I write, I do something.
My mother always told me I had to do 100 times better than a man. I had to work hard at maths, and learn four languages.
Art is what we do when we're truly alive.
I want you to see me naked and performing one or two dozen mad acts, which will take me less than half an hour, because if you have seen them with your own eyes, you can safely swear to any others you might wish to add.
What should I do?" "Throw up in your typewriter every morning." "Yeah." "Clean up every noon.
To provide background and physical description and all the rest is of course vital to fiction, but vital only insofar as such detail is in the service of a richly imagined story, rather than in the service of good botany or good philosophy or good geography.
My desire as a storyteller is to always catch the readers off guard; to give them something they aren't expecting, and take them in a direction that is satisfying in the here and non.
But I think that the spirit of protectionism would be the grave of European cinema. You cannot protect something by building a fence around it and thinking that this will help it survive.
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