Krzysztof Kieslowski
Quotations


Do people really want liberty, equality, fraternity? Is it not some manner of speaking?

For me optimism is two lovers walking into the sunset arm in arm. Or maybe into the sunrise--whatever appeals to you.

In believing too much in rationality, our contemporaries have lost something.

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 have no problem being with people of different nationalities.

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.

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 real life, there are names that surprise us because they don't seem to suit the person at all.

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.

Interior liberty is universal.

Maybe it is worth investigating the unknown, if only because the very feeling of not knowing is a painful one.

Of course I'd like to get beyond the concrete. But it's really difficult. Very difficult.

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.

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.

The films should be influenced by the individual commandments to the same degree that the commandments influence our daily lives

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.

There are mysteries, secret zones in each individual.

To tell you the truth, in my work, love is always in opposition to the elements. It creates dilemmas. It brings in suffering. We can't live with it, and we can't live without it. You'll rarely find a happy ending in my work.

We're always looking at this love through the eyes of the person who is suffering because of this love.



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