My company is called Ciné-Tamaris, which is rosemary. That’s my speed. Hot water and herb.
AGNES VARDAWith 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.
More Agnes Varda Quotes
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Society is so slow. A feminist is a bore.
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Good cinema is good cinema. It makes you feel like you need to work.
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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’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 live in cinema. I feel I’ve lived here forever.
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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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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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I’m trying to capture something more fragile than a regular story. I love what people bring me.
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I think we need to have a nest of something which is family.
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Nostalgia doesn’t make sense, because it’s like bringing the memories back to be a special part of my day or to be part of my week. And I’m inside my memories the same way I’m inside my everyday life.
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I had flops, I had success.
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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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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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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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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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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.
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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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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 hated myself totally white. So now I cheat. It’s my white hair, and I put color there.
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To change history is very slow. The first two times I came to the States – black people didn’t have the right to vote.
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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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You can buy a good pasta but when you cook it yourself it has another feeling.
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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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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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You have to invent life.
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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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