When I started I did not know I wanted to be a filmmaker. I started – I made a film. Then when I finished I said, Oh my god it’s so beautiful – I should be a filmmaker!
AGNES VARDAMany filmmakers have made resurgent work, and I was just a little ahead of the time.
More Agnes Varda Quotes
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You know, an hour and fifty-four minutes is too much for audiences. They get nervous.
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Society is so slow. A feminist is a bore.
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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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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’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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Sometimes I say, If I had seen some masterpieces, maybe I wouldn’t have dared start. I started very – not innocent, but naïve in a way.
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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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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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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.
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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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It’s nice to think that we have in ourselves the energy. It’s somewhere, but it’s sleeping sometimes. I try to wake it up when I need it.
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I’m trying to capture something more fragile than a regular story. I love what people bring me.
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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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If we opened people up, we’d find landscapes.
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I had beautiful jewelery around me, and when I lost I would take the jewelery and say, Service – being very generous, because it was very expensive jewelery. I would say, Tip.
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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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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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I had a world. I don’t think I had a career. I made films.
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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’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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I’m missing some people, you know, and this is not nostalgia. I miss them. This is melancholy.
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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 don’t try to make a place in history at all! People put me in the history of cinema because my first film, La pointe-courte, was so ahead of some other filmmakers.
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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.
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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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