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.
AGNES VARDAI’m missing some people, you know, and this is not nostalgia. I miss them. This is melancholy.
More Agnes Varda Quotes
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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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My grandson says I’m punk.
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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 go back to many films that I really love.
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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 did not think that woman would be restrained. I never saw that, especially not in filmmaking, where you don’t have to be strong.
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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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The tool of every self-portrait is the mirror. You see yourself in it. Turn it the other way, and you see the world .
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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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We need to find another way or another shape or an allegory or something that tells us more.
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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!
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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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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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Just yesterday I saw a good film, but even if I’d seen a bad one, I’d feel, “Oh my god, what a bad job, I can do better.”
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I’d been educated stupidly, I knew nothing about nothing, that’s part of being shy.
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This is all you need in life: a computer, a camera, and a cat.
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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 think I got people confidence because I was not looking at them like insects that I would film.
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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’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 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 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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I live in cinema. I feel I’ve lived here forever.
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If we opened people up, we’d find landscapes.
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Many filmmakers have made resurgent work, and I was just a little ahead of the time.
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