But in a way we all have a Mona. We all have inside ourselves a woman who walks alone on the road. In all women there is something in revolt that is not expressed.
AGNES VARDAI don’t believe in inspiration that arrives like a bolt from the blue … It seems to me that the more motivated I am by what I film, the more objectively I film.
More Agnes Varda Quotes
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I had a world. I don’t think I had a career. I made films.
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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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I’m not nostalgic. My memories are back here in my mind.
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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.
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It’s a way of living, cinema. And I see my family, I do this and that, I travel. It’s a long process to let it happen.
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I’m interested in people who are not exactly the middle way, or who are trying something else because they cannot prevent themselves from being different, or they wish to be different, or they are different because society pushed them away.
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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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To share a lot of ideas – not ideas – emotions, a way of looking at people, a way of looking at life. If it can be shared, it means there is a common denominator.
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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.
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The boundaries between contemporary art and cinema are so rigid. It’s unbelievable.
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I call [ordinary people] real people, because they have in themselves an incredible treasure – stories, a way of speaking, a way of sharing, an innocence and a perversity which I find very interesting to discover little by little.
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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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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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Sometimes I feel sad, but this is not nostalgia, because I don’t want time to come back.
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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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When I saw what painting had done in the last thirty years, what literature had done – people like Joyce and Virginia Woolf, Faulkner and Hemingway – in France we have Nathalie Sarraute – and paintings became so strongly contemporary while cinema was just following the path of theater.
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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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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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I’m myself – knowing I’m doing a documentary and speaking with the people, telling them I have a bed, that I can eat every day, but I would like to speak to you. And they really gave me wonderful answers.
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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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This is all you need in life: a computer, a camera, and a cat.
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People like my films. They understand me through my films; it’s like a connection that has been established between all my work and myself and the audience and the viewer.
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I think we need to have a nest of something which is family.
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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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I was a photographer first.I worked alone. I did it my way as much as I could. I have been sort of courageous about doing things, because I didn’t think I should do less than my brothers.
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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.
AGNES VARDA