I didn’t have a list of things I should do this year, next year, find a good novel, sign two stars and make a deal – because I think cinema should come from cinema.
AGNES VARDAThere 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.
More Agnes Varda Quotes
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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 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 never adapted anything. Beautiful books are beautiful books, that’s it. I don’t know why we should transform them.
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When I started I did not know I wanted to be a filmmaker. I started – I made a film. Then when I finished I said, Oh my god it’s so beautiful – I should be a filmmaker!
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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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People know it’s not easy, and even though you have strong feeling and desire and endless love, it doesn’t always happen.
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I think I got people confidence because I was not looking at them like insects that I would film.
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I never fought, I never learned kung fu or boxing, I never went into these sportif competitions. I wouldn’t cross the ocean.
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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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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 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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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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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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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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Society is so slow. A feminist is a bore.
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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 live in cinema. I feel I’ve lived here forever.
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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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My grandson says I’m punk.
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Hands are the tool of the painter, the artist.
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People like my films. They understand me through my films; it’s like a connection that has been established between all my work and myself and the audience and the viewer.
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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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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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It’s a way of living, sharing things with people who work with me, and they seem to enjoy it.
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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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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 VARDA