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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.

Agnes Varda

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 had flops, I had success.
AGNES VARDA

Down Flop Success Up
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
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 VARDA

Beautiful Film Filmmaker Finished Made Started Wanted
I’m trying to capture something more fragile than a regular story. I love what people bring me.
AGNES VARDA

Capture Love People Regular Something Stories Story Try Trying
People like my films. They understand me through my films; it’s like a connection that has been established between all my work and myself and the audience and the viewer.
AGNES VARDA

Connection Established Film People Understand
Many filmmakers have made resurgent work, and I was just a little ahead of the time.
AGNES VARDA

Ahead Filmmaker Little Made Many Resurgent Time
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
Hands are the tool of the painter, the artist.
AGNES VARDA

Artist Hand Painter Tool
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
You can buy a good pasta but when you cook it yourself it has another feeling.
AGNES VARDA

Another Buy Cook Feeling Good Pasta
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
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
I wanted to speak strongly about feminism in my life, since it’s been a struggle.
AGNES VARDA

Feminism Speak Struggle Wanted
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
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.
AGNES VARDA

Especially Filmmaking Saw Strong Woman

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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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.

Related Topics

Popular Authors

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