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.
AGNES VARDAI’d been educated stupidly, I knew nothing about nothing, that’s part of being shy.
More Agnes Varda Quotes
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I see all these students, and I admire them – they’re trying to learn something, they go to school, they do film school, they go on shoots, they help.
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Just yesterday I saw a good film, but even if I’d seen a bad one, I’d feel, “Oh my god, what a bad job, I can do better.”
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I’ve seen many films, and many beautiful films. And I try to keep a certain level of quality of my films. I don’t do commercials,
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It’s a way of living, cinema. And I see my family, I do this and that, I travel. It’s a long process to let it happen.
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I call [ordinary people] real people, because they have in themselves an incredible treasure – stories, a way of speaking, a way of sharing, an innocence and a perversity which I find very interesting to discover little by little.
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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’ve always been like this – trying to find adventure where it’s still in its first élan – the first spring.
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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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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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Society is so slow. A feminist is a bore.
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I’m interested in people who are not exactly the middle way, or who are trying something else because they cannot prevent themselves from being different, or they wish to be different, or they are different because society pushed them away.
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I think the digital cameras have changed my view. Even though sometimes, including the installations that I show, I mix 35mm filming and video handmade.
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The mirror is the tool of the one who wants to do a self-portrait. And if you want to make a photo you need a mirror.
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I’m myself – knowing I’m doing a documentary and speaking with the people, telling them I have a bed, that I can eat every day, but I would like to speak to you. And they really gave me wonderful answers.
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You know, an hour and fifty-four minutes is too much for audiences. They get nervous.
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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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When I saw what painting had done in the last thirty years, what literature had done – people like Joyce and Virginia Woolf, Faulkner and Hemingway – in France we have Nathalie Sarraute – and paintings became so strongly contemporary while cinema was just following the path of theater.
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It’s nice to think that we have in ourselves the energy. It’s somewhere, but it’s sleeping sometimes. I try to wake it up when I need it.
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I try to do nothing. I drink rosemary when I have a lot of work to do. People take coffee, they take speed, whatever. I take rosemary.
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I think we need to have a nest of something which is family.
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Hands are the tool of the painter, the artist.
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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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Humor is such a strong weapon, such a strong answer.
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I had a world. I don’t think I had a career. I made films.
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You have to invent life.
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We got along very well without trying to make me look like I’m what I’m not.
AGNES VARDA