Agnes Varda Quotes
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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. We got along very well without trying to make me look like I'm what I'm not.
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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 - 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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I know people could tell incredible stories. People have been in concentration camps, or women being raped, or a man going to war and not recovering from it. People have been robbed and beaten. A lot of people have had strong events in their life, which I didn't.
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I was nineteen and I put a bowl on and I said, Cut around! Because it was not the fashion at the time when I did that hairdo - and I kept it all my life!
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I think I did fifteen long features and fifteen documentaries, or something like this, which is very little when you think of people making a film every year. Some people have done fifty or sixty films.
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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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Some people meet each other again only when I'm there!
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You are always in the world. Even in Vagabond. I am not on the road, I am not eating nothing. 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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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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I was eighteen, this was back in '46, so we also had these very frightening images of soldiers in the streets of Paris. So the effect of war, plus my shyness, plus my lack of education - I was afraid of men, really. It changes later, but it took me a certain time to adjust.
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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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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. I have to do something which relates with my time, and in my time, we make things differently.
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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 think I got people confidence because I was not looking at them like insects that I would film.
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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. I think the digital cameras have changed my view. Even though sometimes, including the installations that I show, I mix 35mm filming and video handmade.
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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 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 wanted to speak strongly about feminism in my life, since it's been a struggle.
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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've changed my approach to people and to filming because of the new equipment, which is important.
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I had flops, I had success.
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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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I waited for each film to become important for me. If I had no ideas for a film, I didn't do a film. So I made not that many films for fifty-four years of working.
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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.