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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 .

Agnes Varda

The tool of every self-portrait is the mirror. You see yourself in it. Turn it the other way, and you see the world .
AGNES VARDA

Mirror Portrait See Self You Yourself
She almost doesn’t recognize her children, but she recites Valéry and Baudelaire. So what? We’re the ones who are suffering. She’s not.
AGNES VARDA

Almost Children Recite Recognize Suffering
I wanted to speak strongly about feminism in my life, since it’s been a struggle.
AGNES VARDA

Feminism Speak Struggle Wanted
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.
AGNES VARDA

Boring Contradiction Country Lovely Myself Sound Subject Took
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.
AGNES VARDA

Contemporary Country Done Last Literature Painting People Saw Strongly Theatre Virginia Year
I don’t do films pre-prepared by other people, I don’t do star system. So I do my own little thing.
AGNES VARDA

Film Little Other Own People Pre-Prepared Star System Thing
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.
AGNES VARDA

Dry Edit Les Make Minimum More Plage Refined Saying Square Use Way Well
Good cinema is good cinema. It makes you feel like you need to work.
AGNES VARDA

Cinema Essential Feel Good Job Need Work Yesterday
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.
AGNES VARDA

Alive Cinema Fighting Hope Struggle
You have to invent life.
AGNES VARDA

Discover Invent Life
You have to be strong to be a carpenter, maybe, but the director of a film doesn’t need to have muscles.
AGNES VARDA

Carpenter Direct Director Film Muscle Need Strong
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.
AGNES VARDA

Beautiful Casino Dealer Film Gambling Made Naked People Player Portrait Scene Surrealistic
You know, an hour and fifty-four minutes is too much for audiences. They get nervous.
AGNES VARDA

Audience Fifty Four Getting Minute Much Nervous
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.
AGNES VARDA

Make Mirror Need One Photo Portrait Self Tool
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.
AGNES VARDA

Always Film Giving Movie People Show Thing
I think it’s ridiculous to take such risk. But look, people love to do that. But I was not afraid of doing things I wished to do.
AGNES VARDA

Afraid Doing Look Ridiculous Risk Such Take Wished

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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The tool of every self-portrait is the mirror. You see yourself in it. Turn it the other way, and you see the world .

Related Topics

Popular Authors

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