Krzysztof Kieslowski
Krzysztof Kieslowski
Krzysztof Kieślowski; 27 June 1941 – 13 March 1996) was an influential Polish art-house film director and screenwriter known internationally for The Decalogue, The Double Life of Véronique, and The Three Colors Trilogy. Kieślowski received numerous awards during his career, including the Cannes Film Festival Jury Prize, FIPRESCI Prize, and Prize of the Ecumenical Jury; the Venice Film Festival FIPRESCI Prize, Golden Lion, and OCIC Award; and the Berlin International Film Festival Silver Bear. In 1995 he received Academy Award...
NationalityPolish
ProfessionDirector
Date of Birth27 June 1941
CountryPoland
Do people really want liberty, equality, fraternity? Is it not some manner of speaking?
The television industry doesn't like to see the compexity of the world. It prefers simple reporting, with simple ideas: this is white, that's black; this is good, that's bad.
You have to want to make a film for other reasons - to say something, to tell a story, to show somebody's fate - but you can't want to make a film simply for the sake of it.
The realm of superstitions, fortune-telling, presentiments, intuition, dreams, all this is the inner life of a human being, and all this is the hardest thing to film.
I have one good characteristic: I'm a pessimist, so I always imagine the worst - always. To me, the future is a black hole.
Real artists find answers. The knowledge of the artisan is within the confines of his skills. For example, I know a lot about lenses, about the editing room. I know what the different buttons on the camera are for. I know more or less how to use a microphone. I know all that, but that's not real knowledge. Real knowledge is knowing how to live, why we live, things like that.
Maybe it is worth investigating the unknown, if only because the very feeling of not knowing is a painful one.
You make films to give people something, to transport them somewhere else, and it doesn't matter if you transport them to a world of intuition or a world of intellect...The realm of superstitions, fortune-telling, presentiments, intuition, dreams, all this is the inner life of a human being, and all this is the hardest thing to film... I've been trying to get there from the beginning. I'm somebody who doesn't know, somebody who's searching.
For me optimism is two lovers walking into the sunset arm in arm. Or maybe into the sunrise - whatever appeals to you.
The films should be influenced by the individual commandments to the same degree that the commandments influence our daily lives.
I have one good characteristic: I'm a pessimist, so I always imagine the worst - always. To me, the future is a black hole.