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.
AGNES VARDAI go back to many films that I really love.
More Agnes Varda Quotes
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I hated myself totally white. So now I cheat. It’s my white hair, and I put color there.
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I have to do something which relates with my time, and in my time, we make things differently.
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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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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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The boundaries between contemporary art and cinema are so rigid. It’s unbelievable.
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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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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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People know it’s not easy, and even though you have strong feeling and desire and endless love, it doesn’t always happen.
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I think people should be different. I love people who don’t go by the rule that you have to be careful because you’re old, you have to do this and that, you have to eat this and that.
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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.
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If we opened people up, we’d find landscapes.
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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 don’t watch my own films. There is little time; I’d rather see another film.
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I never fought, I never learned kung fu or boxing, I never went into these sportif competitions. I wouldn’t cross the ocean.
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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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I live in cinema. I feel I’ve lived here forever.
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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.
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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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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’m not interested in seeing a film just made by a woman – not unless she is looking for new images.
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There is a song of Gainsbourg that Jane Birkin sang, and the words are beautiful in French. It says, “Le jeu et les moi.” It’s impossible to translate, because it has a very nice sound.
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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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Hands are the tool of the painter, the artist.
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The story of a couple is always very fragile, especially over more than thirty years.
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With Jane Birkin, we had a scene from a film called Jane B. by Agnès V. – a portrait I made in ’87. We had a casino scene, surrealistic, in which we had some naked people gambling. Jane Birkin was the card dealer and I was the player.
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I’m missing some people, you know, and this is not nostalgia. I miss them. This is melancholy.
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