Kieslowski on Kieslowski

On The Double Life of Veronique (1991):

“I don’t film metaphors.  People only read them as metaphors, which is very good.  That’s what I want.  I always want to stir people to something.  It doesn’t matter whether I manage to pull people into the story or inspire them to analyse it.  What is important is that I force them into something or move them in some way.  That’s why I do all this – to make people experience something.  It doesn’t matter if they experience it intellectually or emotionally.  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 the intellect.”

“Of course I’m playing on emotions.  What else should I play on?  What else is there other than emotions?  What is important?  Only that.  I play on them so that people should hate or love my characters.  I play on them so that people should sympathize with them.  I play on them so that people should want my characters to win if they’re playing a good game.”

On Red (1994):

“There’s something beautiful in the fact that we can give something of ourselves.  But if it turns out that while giving of ourselves we are doing so in order to have a better opinion of ourselves then immediately there’s a blemish on this beauty.  Is this beauty pure?  Or is it always a little marred?”

On just being excessively modest:

“I haven’t got a great talent for films.  Orson Welles, for example, managed to achieve this at the age of twenty-four or twenty-six when he made Citizen Kane, and, with his first film, climbed to the top, to the highest possible peak in cinema.  There are a few films like that.  Citizen Kane will always be in the top ten.  A genius immediately finds his place.  But I’ll need to take all my life to get there and I never will.  I know that perfectly well.  I just keep on going.  And if somebody doesn’t want to or can’t understand that this is a lasting process then obviously he or she will keep saying that everything I do is different, better or worse, from what I’ve done before.  But for me it isn’t better or worse.  It’s all the same only a step further, and, according to my own private scale of values, these are small steps which are taking me nearer to a goal which I’ll never reach anyway.  I haven’t got enough talent.”

Danusia Stok. Kieslowski on Kieslowski.  London, Boston: Faber and Faber, 1993.

~ by febriblog on January 20, 2011.

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