Krzysztof Kieślowski (Polish pronunciation: [ˈkʂɨʂtɔf kʲɛɕˈlɔfskʲi] ( listen); 27 June 1941 – 13 March 1996) was a Polish film director and screenwriter.
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.
Do people really want liberty, equality, fraternity? Is it not some manner of speaking?
We understand the concept of equality, that we all want to be equal. But I think this is absolutely not true. I don't think anybody really wants to be equal. Everybody wants to be more equal.
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.
Of course I'd like to get beyond the concrete. But it's really difficult. Very difficult.
I have no problem being with people of different nationalities.
(When asked what a director does) I help.
There are mysteries, secret zones in each individual.
I wanted to describe the world at the same time, through image, express what I felt. It was the time of the great documentary filmmakers: Richard Leacock, Joris Ivens. Today, television has put an end to this type of filmmaking.
In ten phrases, the ten commandments express the essential of life. And these three words--liberty, equality, and fraternity--do just as much. Millions of people have died for those ideals.
Different people in different parts of the world can be thinking the same thoughts at the same time. It's an obsession of mine: that different people in different places are thinking the same thing but for different reasons. I try to make films which connect people.
Of course, you could, no doubt, call my going to film school the biggest mistake I ever made.
For 6,000 years, these rules have been unquestionably right. And yet we break them every day. People feel that something is wrong in life. There is some kind of atmosphere that makes people now turn to other values. They want to contemplate the basic questions of life, and that is probably the real reason for wanting to tell these stories.
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.
I have one good characteristic: I'm a pessimist, so I always imagine the worst - always. To me, the future is a black hole.
I feel Polish. More specifically, I feel like I'm from the tiny village in the Northeast of Poland where I have a house and where I love to spend time. But I don't work there. I cut wood.
I really don't know anything about music, and it's no great experience for me. But I do think that music has a purifying element.
I like chance meetings--life is full of them. Everyday, without realizing it, I pass people whom I should know. At this moment, in this cafe, we're sitting next to strangers. Everyone will get up, leave, and go on their own way. And they'll never meet again. And if they do, they won't realize that it's not for the first time.
Someone knocks at the door of an apartment to borrow salt or sugar, people run into each other in the elevator, and in this way become inscribed in the spectator's memory.
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.