I had a world. I don’t think I had a career. I made films.
AGNES VARDAJust 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.”
More Agnes Varda Quotes
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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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Good cinema is good cinema. It makes you feel like you need to work.
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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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Sometimes I say, If I had seen some masterpieces, maybe I wouldn’t have dared start. I started very – not innocent, but naïve in a way.
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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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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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Humor is such a strong weapon, such a strong answer. Women have to make jokes about themselves, laugh about themselves, because they have nothing to lose.
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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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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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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.
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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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An old woman I loved very much when I was young – the wife of Jean Villard – she’s just reciting poetry all the time, which is beautiful because it means she went back to the world of poetry that she loved when she was young. That’s all she does.
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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’m missing some people, you know, and this is not nostalgia. I miss them. This is melancholy.
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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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I had flops, I had success.
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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 wanted to speak strongly about feminism in my life, since it’s been a struggle.
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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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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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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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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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She almost doesn’t recognize her children, but she recites Valéry and Baudelaire. So what? We’re the ones who are suffering. She’s not.
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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 think we need to have a nest of something which is family.
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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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