I wanted to speak strongly about feminism in my life, since it’s been a struggle.
AGNES VARDAIt 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.
More Agnes Varda Quotes
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I was nineteen and I put a bowl on and I said, Cut around! Because it was not the fashion at the time when I did that hairdo – and I kept it all my life!
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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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If we opened people up, we’d find landscapes.
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Many filmmakers have made resurgent work, and I was just a little ahead of the time.
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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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I’m sure they learn a lot, and some of them, it makes them aware of what they wish to do. I was – that’s the way I was – autodidact.
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We got along very well without trying to make me look like I’m what I’m not.
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I think we need to have a nest of something which is family.
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People think you are an orphan when you are a child, and don’t believe that old people can feel that they are orphans.
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You know, an hour and fifty-four minutes is too much for audiences. They get nervous.
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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 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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I’d been educated stupidly, I knew nothing about nothing, that’s part of being shy.
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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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To change history is very slow. The first two times I came to the States – black people didn’t have the right to vote.
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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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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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Society is so slow. A feminist is a bore.
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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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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 boundaries between contemporary art and cinema are so rigid. It’s unbelievable.
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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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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.
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I did not think that woman would be restrained. I never saw that, especially not in filmmaking, where you don’t have to be strong.
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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 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.
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