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.
AGNES VARDAI had beautiful jewelery around me, and when I lost I would take the jewelery and say, Service – being very generous, because it was very expensive jewelery. I would say, Tip.
More Agnes Varda Quotes
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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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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 need images, I need representation which deals in other means than reality. We have to use reality but get out of it. That’s what I try to do all the time.
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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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It’s a way of living, sharing things with people who work with me, and they seem to enjoy it.
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I’m not nostalgic. My memories are back here in my mind.
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You know, an hour and fifty-four minutes is too much for audiences. They get nervous.
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This is all you need in life: a computer, a camera, and a cat.
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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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Sometimes I feel sad, but this is not nostalgia, because I don’t want time to come back.
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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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You have to invent life.
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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 story of a couple is always very fragile, especially over more than thirty years.
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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.
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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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I don’t do films pre-prepared by other people, I don’t do star system. So I do my own little thing.
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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.
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Hands are the tool of the painter, the artist.
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Some Bresson, some Godard of the early times, the Cassavetes of those years I love. And the early Wim Wenders. But my own films I don’t watch, unless I need them.
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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.
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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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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 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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I quit seeing some people who were saying bad things about women; I don’t even want to meet them or see them.
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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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