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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.

Agnes Varda

Sometimes I feel sad, but this is not nostalgia, because I don’t want time to come back.
AGNES VARDA

Back Come Feel Nostalgia Sometimes Time Want
The boundaries between contemporary art and cinema are so rigid. It’s unbelievable.
AGNES VARDA

Art Boundaries Cinema Contemporary Critics Film Rigid Unbelievable
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
Just yesterday I saw a good film, but even if I’d seen a bad one, I’d feel, “Oh my god, what a bad job, I can do better.”
AGNES VARDA

Bad Better Film God Good One Yesterday
I’m not nostalgic. My memories are back here in my mind.
AGNES VARDA

Back Memories Memory Mind Nostalgic
Gleaning is getting things that are abandoned. I did not abandon my early pictures, my photos, my early films. It’s just going through my body of work as something I can pick from.
AGNES VARDA

Abandoned Body Early Film Getting Gleaning Photo Picture
I should say nothing! I’m through with it! I hate to repeat myself all the time.
AGNES VARDA

All Hate Myself Nothing Repeat Time
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.
AGNES VARDA

Interesting Life People Possibility Relate Tell Themselves
It’s a way of living, sharing things with people who work with me, and they seem to enjoy it.
AGNES VARDA

Enjoy Living People Seem Sharing Way Work
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.
AGNES VARDA

Assistant Camera Film School Thinking Trainee
We need to find another way or another shape or an allegory or something that tells us more.
AGNES VARDA

Allegory Another Mean More Need Shape Something Tell Vagabond
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.
AGNES VARDA

Documentary Every Line Fiction Science Texture True
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
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.
AGNES VARDA

Away Catch Consumption Documentary Eating Ethnography People Want Problem Serious Sociologie Subject Thinker Throw Wanted
Hands are the tool of the painter, the artist.
AGNES VARDA

Artist Hand Painter Tool
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

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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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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