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.
AGNES VARDAHands are the tool of the painter, the artist.
More Agnes Varda Quotes
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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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She almost doesn’t recognize her children, but she recites Valéry and Baudelaire. So what? We’re the ones who are suffering. She’s not.
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I tried to find images, allegorical images, that I could use to express things that I didn’t want to say or didn’t want to show or I was not able to find how to show.
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My grandson says I’m punk.
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I did not think that woman would be restrained. I never saw that, especially not in filmmaking, where you don’t have to be strong.
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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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You are always in the world. Even in Vagabond. I am not on the road, I am not eating nothing.
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I’m missing some people, you know, and this is not nostalgia. I miss them. This is melancholy.
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I never adapted anything. Beautiful books are beautiful books, that’s it. I don’t know why we should transform them.
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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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It’s interesting work for me to tell my life, as a possibility for other people to relate it to themselves – not so much to learn about me.
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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’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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Society is so slow. A feminist is a bore.
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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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You have to be strong to be a carpenter, maybe, but the director of a film doesn’t need to have muscles.
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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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People think you are an orphan when you are a child, and don’t believe that old people can feel that they are orphans.
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Good cinema is good cinema. It makes you feel like you need to work.
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I’m not nostalgic. My memories are back here in my mind.
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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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You know, an hour and fifty-four minutes is too much for audiences. They get nervous.
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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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To share a lot of ideas – not ideas – emotions, a way of looking at people, a way of looking at life. If it can be shared, it means there is a common denominator.
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We got along very well without trying to make me look like I’m what I’m not.
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I was nineteen and I put a bowl on and I said, Cut around! Because it was not the fashion at the time when I did that hairdo – and I kept it all my life!
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