Agnes Varda Quotes
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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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We need to find another way or another shape or an allegory or something that tells us more. Even Vagabond - it was a fiction but it was really a documentary. I mean, it has the texture of documentary. Even if I made up every line, it has the texture of being true.
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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 didn't see films when I was young. I was stupid and naïve. Maybe I wouldn't have made films if I had seen lots of others; maybe it would have stopped me. I started totally free and crazy and innocent. Now 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, 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 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.
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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. Many filmmakers have made resurgent work, and I was just a little ahead of the time.
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The freedom he gave himself to work and change shape and change ideas and work all the time with joy, the joy of painting was in [Publo] Picasso, which I found beautiful.
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I'm not nostalgic. My memories are back here in my mind.
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I never met Publo Picasso. I took pictures at the Festival d'Avignon, but I was too shy to ask to go in his studio. It does not look like me now, but I was very shy, and shy of men also. I think there was a world that frightened me totally.
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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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I had a world. I don't think I had a career. I made films.
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I thought, If I'm an ancestor and grandmother when I'm twenty-five, I should go peacefully to the real time when I'm an ancestor and a grandmother.
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It's nice to think that we have in ourselves the energy. It's somewhere, but it's sleeping sometimes. I try to wake it up when I need it.
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The story of a couple is always very fragile, especially over more than thirty years. 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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If I was tall and blonde, I might have been a dancer or singer.
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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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Gleaning is getting things that are abandoned. I did not abandon my early pictures, my photos, my early films. It's just going through my body of work as something I can pick from.
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I go back to many films that I really love. 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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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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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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At that time, when I started, in the '50s, cinema was very classical in its aims.
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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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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.