Agnes Varda Quotes
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At that time, when I started, in the '50s, cinema was very classical in its aims.
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Sometimes I want to work with a DP, sometimes I want to work myself. I go to 35mm, 16mm, it's all the same, but it depends on what you want to tell and what are the tools you need.
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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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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 had a very good time when I did The Gleaners - even though the people are poor, and I was suffering to see the conditions, and plus they are not such lovely hearts. They are tough to each other, they beat each other, they are rude and they are violent and they drink. They're not sweethearts, you know, but some were so interesting.
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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 tried to find a language for the film - not just telling stories. I picked the Picasso painting because it said more than I could explain. 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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Humor is such a strong weapon, such a strong answer.
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You know, an hour and fifty-four minutes is too much for audiences. They get nervous.
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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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You have to invent life.
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I've always been like this - trying to find adventure where it's still in its first élan - the first spring.
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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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I have respect for literature. If he found the words, if she found the words - this is a book!
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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 should say nothing! I'm through with it! I hate to repeat myself all the time.
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My company is called Ciné-Tamaris, which is rosemary. That's my speed. Hot water and herb.
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I hated myself totally white. So now I cheat. It's my white hair, and I put color there. My grandson says I'm punk.
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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. 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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Society is so slow. A feminist is a bore.
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In my films I always wanted to make people see deeply. I don't want to show things, but to give people the desire to see.
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I just 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.