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.
AGNES VARDAI’ve seen many films, and many beautiful films. And I try to keep a certain level of quality of my films. I don’t do commercials,
More Agnes Varda Quotes
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I go back to many films that I really love.
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Some Bresson, some Godard of the early times, the Cassavetes of those years I love. And the early Wim Wenders. But my own films I don’t watch, unless I need them.
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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 have to do something which relates with my time, and in my time, we make things differently.
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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 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 should say nothing! I’m through with it! I hate to repeat myself all the time.
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I try to do nothing. I drink rosemary when I have a lot of work to do. People take coffee, they take speed, whatever. I take rosemary.
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I 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.
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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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I don’t watch my own films. There is little time; I’d rather see another film.
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I think it’s ridiculous to take such risk. But look, people love to do that. But I was not afraid of doing things I wished to do.
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I’ve seen many films, and many beautiful films. And I try to keep a certain level of quality of my films. I don’t do commercials,
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The mirror is the tool of the one who wants to do a self-portrait. And if you want to make a photo you need a mirror.
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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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I think I got people confidence because I was not looking at them like insects that I would film.
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If you know nothing, it could be like an enemy in a way. I think that’s the way I felt when I was young.
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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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I had flops, I had success.
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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 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.
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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 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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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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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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The film critics don’t know my artwork and the art world doesn’t know my films.
AGNES VARDA