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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.

Agnes Varda

In my films I always wanted to make people see deeply. I don’t want to show things, but to give people the desire to see.
AGNES VARDA

Always Film Giving Movie People Show Thing
To change history is very slow. The first two times I came to the States – black people didn’t have the right to vote.
AGNES VARDA

Black Change History People Right Slow State Two Vote
I had flops, I had success.
AGNES VARDA

Down Flop Success Up
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.
AGNES VARDA

Boring Contradiction Country Lovely Myself Sound Subject Took
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

Cinema Country Different Director Film First High Jump Language Pole Started Three Women
I don’t do films pre-prepared by other people, I don’t do star system. So I do my own little thing.
AGNES VARDA

Film Little Other Own People Pre-Prepared Star System Thing
I was free always. I could work without the money, to film this and that. But this is another point, because now I’m alone, and I can just use it when I want.
AGNES VARDA

Always Could Film Free Money Sometimes Thinking Work
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 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
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
I live in cinema. I feel I’ve lived here forever.
AGNES VARDA

Cinema Fel Forever Here Loved Movie
When I did the first edit of Les plages, it was very dry and very square in a way. I was just saying the minimum. I said, Well, if this is the minimum, I don’t make it. So I tried to make it more refined.
AGNES VARDA

Dry Edit Les Make Minimum More Plage Refined Saying Square Use Way Well
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.
AGNES VARDA

Admire Help Learn School Shoot Something Student Trying Wish
The boundaries between contemporary art and cinema are so rigid. It’s unbelievable.
AGNES VARDA

Art Boundaries Cinema Contemporary Critics Film Rigid Unbelievable
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
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.
AGNES VARDA

Bringing Everyday Memories Nostalgia Sense Special

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 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.

Related Topics

Popular Authors

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