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.
AGNES VARDAI was free always. I could work without the money, to film this and that. But this is another point, because now I’m alone, and I can just use it when I want.
More Agnes Varda Quotes
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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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You are always in the world. Even in Vagabond. I am not on the road, I am not eating nothing.
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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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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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I’m not nostalgic. My memories are back here in my mind.
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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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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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We need to find another way or another shape or an allegory or something that tells us more.
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If we opened people up, we’d find landscapes.
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I didn’t see films when I was young. I was stupid and naïve. Maybe I wouldn’t have made films if I had seen lots of others; maybe it would have stopped me.
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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’d been educated stupidly, I knew nothing about nothing, that’s part of being shy.
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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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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.
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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.
AGNES VARDA