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 VARDAI’m not interested in seeing a film just made by a woman – not unless she is looking for new images.
More Agnes Varda Quotes
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People like my films. They understand me through my films; it’s like a connection that has been established between all my work and myself and the audience and the viewer.
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I hated myself totally white. So now I cheat. It’s my white hair, and I put color there.
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I think it’s ridiculous to take such risk. But look, people love to do that. But I was not afraid of doing things I wished to do.
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If we opened people up, we’d find landscapes.
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It sounds so lovely in French. So I took that because it was the subject: I and myself and myself and I. Which is, in a way, boring, because it is a contradiction.
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Humor is such a strong weapon, such a strong answer. Women have to make jokes about themselves, laugh about themselves, because they have nothing to lose.
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I think we need to have a nest of something which is family.
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I don’t believe in inspiration that arrives like a bolt from the blue … It seems to me that the more motivated I am by what I film, the more objectively I film.
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My company is called Ciné-Tamaris, which is rosemary. That’s my speed. Hot water and herb.
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We need to find another way or another shape or an allegory or something that tells us more.
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An old woman I loved very much when I was young – the wife of Jean Villard – she’s just reciting poetry all the time, which is beautiful because it means she went back to the world of poetry that she loved when she was young. That’s all she does.
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Even Vagabond – it was a fiction but it was really a documentary. I mean, it has the texture of documentary. Even if I made up every line, it has the texture of being true.
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I don’t try to make a place in history at all! People put me in the history of cinema because my first film, La pointe-courte, was so ahead of some other filmmakers.
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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.
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Gleaning is getting things that are abandoned. I did not abandon my early pictures, my photos, my early films. It’s just going through my body of work as something I can pick from.
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I’m sure they learn a lot, and some of them, it makes them aware of what they wish to do. I was – that’s the way I was – autodidact.
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The story of a couple is always very fragile, especially over more than thirty years.
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When I started I did not know I wanted to be a filmmaker. I started – I made a film. Then when I finished I said, Oh my god it’s so beautiful – I should be a filmmaker!
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I wanted to catch the problem of consumption, waste, poor people eating what we throw away, which is a big subject. But I didn’t want to become a sociologue, an ethnographe, a serious thinker. I thought I should be free, even in a documentary which has a very serious subject.
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The film critics don’t know my artwork and the art world doesn’t know my films.
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I wanted to speak strongly about feminism in my life, since it’s been a struggle.
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Society is so slow. A feminist is a bore.
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I was a photographer first.I worked alone. I did it my way as much as I could. I have been sort of courageous about doing things, because I didn’t think I should do less than my brothers.
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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.
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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.
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I don’t do films pre-prepared by other people, I don’t do star system. So I do my own little thing.
AGNES VARDA