black
grey
blue
red
brown
white

Sometimes I feel sad, but this is not nostalgia, because I don’t want time to come back.

Agnes Varda

I hated myself totally white. So now I cheat. It’s my white hair, and I put color there.
AGNES VARDA

Cheat Color Hair Hated Myself Totally White
I think people should be different. I love people who don’t go by the rule that you have to be careful because you’re old, you have to do this and that, you have to eat this and that.
AGNES VARDA

Care Careful Different People Think Thinking
To change history is very slow. The first two times I came to the States – black people didn’t have the right to vote.
AGNES VARDA

Black Change History People Right Slow State Two Vote
The tool of every self-portrait is the mirror. You see yourself in it. Turn it the other way, and you see the world .
AGNES VARDA

Mirror Portrait See Self You Yourself
Hands are the tool of the painter, the artist.
AGNES VARDA

Artist Hand Painter Tool
My grandson says I’m punk.
AGNES VARDA

Call Grandson Nickname Punk
I’m still fighting. I don’t know how much longer, but I’m still fighting a struggle, which is to make cinema alive and not just make another film.
AGNES VARDA

Alive Cinema Fighting Hope Struggle
If you know nothing, it could be like an enemy in a way. I think that’s the way I felt when I was young.
AGNES VARDA

Enemy Felt Like Nothing Think Thinking Way Young
When I started my first film, there were three women directors in France. Their films were OK, but I was different. It’s like when you start to jump and you put the pole very high – you have to jump very high. I thought, I have to use cinema as a language.
AGNES VARDA

Cinema Country Different Director Film First High Jump Language Pole Started Three Women
With Jane Birkin, we had a scene from a film called Jane B. by Agnès V. – a portrait I made in ’87. We had a casino scene, surrealistic, in which we had some naked people gambling. Jane Birkin was the card dealer and I was the player.
AGNES VARDA

Beautiful Casino Dealer Film Gambling Made Naked People Player Portrait Scene Surrealistic
Good cinema is good cinema. It makes you feel like you need to work.
AGNES VARDA

Cinema Essential Feel Good Job Need Work Yesterday
You are always in the world. Even in Vagabond. I am not on the road, I am not eating nothing.
AGNES VARDA

Always Eating Even Nothing Vagabonds Way World
I didn’t go to film school. I was never an assistant or trainee on a film. I had not seen all those cameras. So I think it gave me a lot of freedom.
AGNES VARDA

Assistant Camera Film School Thinking Trainee
I had flops, I had success.
AGNES VARDA

Down Flop Success Up
In my films I always wanted to make people see deeply. I don’t want to show things, but to give people the desire to see.
AGNES VARDA

Always Film Giving Movie People Show Thing
When I did the first edit of Les plages, it was very dry and very square in a way. I was just saying the minimum. I said, Well, if this is the minimum, I don’t make it. So I tried to make it more refined.
AGNES VARDA

Dry Edit Les Make Minimum More Plage Refined Saying Square Use Way Well

Sometimes I feel sad, but this is not nostalgia, because I don’t want time to come back.

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Sometimes I feel sad, but this is not nostalgia, because I don’t want time to come back.

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