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 VARDATo share a lot of ideas – not ideas – emotions, a way of looking at people, a way of looking at life. If it can be shared, it means there is a common denominator.
More Agnes Varda Quotes
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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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Humor is such a strong weapon, such a strong answer.
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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 not nostalgic. My memories are back here in my mind.
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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.”
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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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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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I think I got people confidence because I was not looking at them like insects that I would film.
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You have to invent life.
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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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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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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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I never adapted anything. Beautiful books are beautiful books, that’s it. I don’t know why we should transform them.
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I 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.
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You have to be strong to be a carpenter, maybe, but the director of a film doesn’t need to have muscles.
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I 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.
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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.
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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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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.
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To share a lot of ideas – not ideas – emotions, a way of looking at people, a way of looking at life. If it can be shared, it means there is a common denominator.
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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 tried to find a language for the film – not just telling stories. I picked the Picasso painting because it said more than I could explain.
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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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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 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 live in cinema. I feel I’ve lived here forever.
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