I live in cinema. I feel I’ve lived here forever.
AGNES VARDAI 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.
More Agnes Varda Quotes
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I’m not interested in seeing a film just made by a woman – not unless she is looking for new images.
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Society is so slow. A feminist is a bore.
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It’s a way of living, cinema. And I see my family, I do this and that, I travel. It’s a long process to let it happen.
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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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If we opened people up, we’d find landscapes.
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I don’t watch my own films. There is little time; I’d rather see another film.
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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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Sometimes I feel sad, but this is not nostalgia, because I don’t want time to come back.
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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 think we need to have a nest of something which is family.
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I had a world. I don’t think I had a career. I made films.
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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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I think I got people confidence because I was not looking at them like insects that I would film.
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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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Good cinema is good cinema. It makes you feel like you need to work.
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I’m myself – knowing I’m doing a documentary and speaking with the people, telling them I have a bed, that I can eat every day, but I would like to speak to you. And they really gave me wonderful answers.
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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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Many filmmakers have made resurgent work, and I was just a little ahead of the time.
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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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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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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 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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But in a way we all have a Mona. We all have inside ourselves a woman who walks alone on the road. In all women there is something in revolt that is not expressed.
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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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In my films I always wanted to make people see deeply. I don’t want to show things, but to give people the desire to see.
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