I go back to many films that I really love.
AGNES VARDAWhen 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.
More Agnes Varda Quotes
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It’s a way of living, sharing things with people who work with me, and they seem to enjoy it.
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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.
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I’ve seen many films, and many beautiful films. And I try to keep a certain level of quality of my films. I don’t do commercials,
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I wanted to speak strongly about feminism in my life, since it’s been a struggle.
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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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This is all you need in life: a computer, a camera, and a cat.
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I live in cinema. I feel I’ve lived here forever.
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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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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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Humor is such a strong weapon, such a strong answer.
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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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Good cinema is good cinema. It makes you feel like you need to work.
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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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I don’t believe in inspiration that arrives like a bolt from the blue … It seems to me that the more motivated I am by what I film, the more objectively I film.
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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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I was a photographer first.I worked alone. I did it my way as much as I could. I have been sort of courageous about doing things, because I didn’t think I should do less than my brothers.
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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 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’m not interested in seeing a film just made by a woman – not unless she is looking for new images.
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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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You can buy a good pasta but when you cook it yourself it has another feeling.
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I had a world. I don’t think I had a career. I made films.
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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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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’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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Nostalgia doesn’t make sense, because it’s like bringing the memories back to be a special part of my day or to be part of my week. And I’m inside my memories the same way I’m inside my everyday life.
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