There is a song of Gainsbourg that Jane Birkin sang, and the words are beautiful in French. It says, “Le jeu et les moi.” It’s impossible to translate, because it has a very nice sound.
AGNES VARDAI quit seeing some people who were saying bad things about women; I don’t even want to meet them or see them.
More Agnes Varda Quotes
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If we opened people up, we’d find landscapes.
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I had flops, I had success.
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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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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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I go back to many films that I really love.
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Many filmmakers have made resurgent work, and I was just a little ahead of the time.
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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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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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You have to invent life.
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I live in cinema. I feel I’ve lived here forever.
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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 think we need to have a nest of something which is family.
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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 wanted to speak strongly about feminism in my life, since it’s been a struggle.
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The tool of every self-portrait is the mirror. You see yourself in it. Turn it the other way, and you see the world .
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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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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’m missing some people, you know, and this is not nostalgia. I miss them. This is melancholy.
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I’d been educated stupidly, I knew nothing about nothing, that’s part of being shy.
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The boundaries between contemporary art and cinema are so rigid. It’s unbelievable.
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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 trying to capture something more fragile than a regular story. I love what people bring me.
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This is all you need in life: a computer, a camera, and a cat.
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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 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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