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I need images, I need representation which deals in other means than reality. We have to use reality but get out of it. That’s what I try to do all the time.

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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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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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The boundaries between contemporary art and cinema are so rigid. It’s unbelievable.
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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 need images, I need representation which deals in other means than reality. We have to use reality but get out of it. That’s what I try to do all the time.
AGNES VARDA

Deal Image Mean Need Reality Representation Time Use
We need to find another way or another shape or an allegory or something that tells us more.
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I think we need to have a nest of something which is family.
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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 do films pre-prepared by other people, I don’t do star system. So I do my own little thing.
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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 film critics don’t know my artwork and the art world doesn’t know my films.
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Hands are the tool of the painter, the artist.
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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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I should say nothing! I’m through with it! I hate to repeat myself all the time.
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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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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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