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Image of the quote is loading... SaveSave We all steal, but if we're smart we steal from great directors. Then, we can call it influence. - Quote by Krzysztof Kieślowski

We all steal, but if we’re smart we steal from great directors. Then, we can call it influence.

Krzysztof Kieślowski
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Or take this girl, for example. At a meeting just outside Paris, a fifteen-year-old girl came up to me and said that she'd been to see [The Double Life of] Véronique. She'd gone once, twice, three times and only wanted to say one thing really - that she realized that there is such a thing as a soul. She hadn't known before, but now she knew that the soul does exist. There's something very beautiful in that. It was worth making Véronique for that girl. It was worth working for a year, sacrificing all that money, energy, time, patience, torturing yourself, killing yourself, taking thousands of decisions, so that one young girl in Paris should realize that there is such a thing as a soul. It's worth it.
Krzysztof Kieślowski
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.
Krzysztof Kieślowski
But I reckon that this realm of higher needs, of something more than just forgetting about everyday life, of mere recreation, this realm of needs has been clearly neglected by us.
Krzysztof Kieślowski
Of course, you could, no doubt, call my going to film school the biggest mistake I ever made.
Krzysztof Kieślowski
[on Rouge] This is a film about communication that disappears. We have better and better tools and less and less communication with each other. We only exchange information.
Krzysztof Kieślowski
Regardless of the subject of my films … I am looking for a way of evoking in audiences feelings similar to my own: the physically painful impotence and sorrow that assail me when I see a man weeping at the bus stop, when I observe people struggling vainly to get close to others, when I see someone eating up the left-overs in a cheap restaurant, when I see the first blotches on a woman's hand and know that she too is bitterly aware of them, when I see the kind of appalling and irreparable injustice that so visibly scars the human face. I want this pain to come across to my audience, to see this physical agony, which I think I am beginning to fathom, to seep into my work.
Krzysztof Kieślowski
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