I live in cinema. I feel I’ve lived here forever.
AGNES VARDAI’ve always been like this – trying to find adventure where it’s still in its first élan – the first spring.
More Agnes Varda Quotes
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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.
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Many filmmakers have made resurgent work, and I was just a little ahead of the time.
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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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It’s a way of living, sharing things with people who work with me, and they seem to enjoy it.
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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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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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You are always in the world. Even in Vagabond. I am not on the road, I am not eating nothing.
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We need to find another way or another shape or an allegory or something that tells us more.
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She almost doesn’t recognize her children, but she recites Valéry and Baudelaire. So what? We’re the ones who are suffering. She’s not.
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Good cinema is good cinema. It makes you feel like you need to work.
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Hands are the tool of the painter, the artist.
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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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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 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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You can buy a good pasta but when you cook it yourself it has another feeling.
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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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If we opened people up, we’d find landscapes.
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I didn’t have a list of things I should do this year, next year, find a good novel, sign two stars and make a deal – because I think cinema should come from cinema.
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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’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 quit seeing some people who were saying bad things about women; I don’t even want to meet them or see them.
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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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The story of a couple is always very fragile, especially over more than thirty years.
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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.
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Sometimes I feel sad, but this is not nostalgia, because I don’t want time to come back.
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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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