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00:00:51
Life according
to one correct set of rules —00:00:57
that's what
the Catholic Church teaches.00:00:59
And this, in my opinion,00:01:02
undermines the very interests
of the church,00:01:05
because people resent
being controlled.00:01:09
I'm convinced each one of us
knows our own way in life,00:01:16
and we don't want others telling us
that theirs is the only way.00:01:20
Why not choose
a different direction?00:01:24
- What is this man's name?
- Krzysztof Kieslowski.00:01:27
- Parents' first names?
- Roman and Barbara.00:01:30
- Mother's maiden name?
- Szonert.00:01:32
- Date and place of birth?
- June 27, 1941, in Warsaw.00:01:38
The patient is a middle-aged man.00:01:42
He smokes, drinks lots of coffee,
and leads an irregular life.00:01:47
His work is detrimental to his health.00:01:51
It calls for an irregular lifestyle
and sudden bursts of activity.00:01:56
Having led such a life00:01:59
for many years,00:02:02
the patient now has problems
with his circulatory system,00:02:06
which was inevitable.00:02:09
Provided with a date of birth
and handwriting samples,00:02:15
I'm to speak about an individual
I've never met personally.00:02:19
This person is a man
with good organizing skills00:02:23
and a good spatial imagination.00:02:27
He has a good memory,00:02:31
and he uses it well.00:02:35
He has a refined aesthetic sense
and is highly intelligent.00:02:42
He can enter into the spirit...00:02:47
of several people at once.00:02:51
He's very flexible...00:02:55
and warm-hearted.00:03:02
Women adore him.00:03:05
He seems quiet on the outside,00:03:07
SO NO one suspects him
of being so quick and impatient.00:03:11
But when he begins something,00:03:14
he wants immediate results.00:03:17
I think he's succumbed
to the temptation00:03:21
that has existed
since the world began:00:03:25
The Lord or myself —
which one of us is God?00:03:28
Right now he finds himself...00:03:32
in “life's waiting room,”
so to speak.00:03:37
He's in a phase
where he's searching for something00:03:42
that he's actually
been pursuing all his life.00:03:53
- Ready, Krzyszitof?
- Yes.00:03:55
But how are we going to do this?00:03:59
You're directing this film,00:04:01
but you've been
my assistant director for many years.00:04:05
Jacek has made some features with me,
and even more documentaries.00:04:10
Misio, who's recording sound —00:04:13
Lower the mic.
Can you hear me?00:04:16
- Yes.
- Good.00:04:18
Misio's made many features
and documentaries with me too.00:04:22
You two know me well,00:04:25
which means I can tell you things
I wouldn't tell others.00:04:32
We can discuss more intimate
and personal topics.00:04:39
The downside is that
you already know my answers.00:04:45
So if I sense you already know
my answer to a question,00:04:50
I'll try to answer in a way you don't
expect, no matter what the truth is.00:04:59
We're in Poreby visiting
our cameraman, Jacek Pelrycki.00:05:05
This is where we'll be meeting
to discuss all sorts of things.00:05:10
First I'd like you
to tell us about your life00:05:15
from, let's say,
birth until film school.00:05:23
- How much time do we have?
- You can summarize.00:05:28
- Okay. I was born.
- Where?00:05:31
Warsaw.00:05:36
- Is that it?
- Yeah.00:05:38
Then what?00:05:40
Then there's a long period00:05:43
I don't remember.00:05:45
Does anybody?00:05:52
Later, we moved a lot,00:05:54
from one small town to another.00:05:59
I'd always be sitting on trunks...00:06:02
or stacks of furniture,00:06:04
or on a train, or in a truck.00:06:08
Then my father got tuberculosis,
so we tried to find a place00:06:15
where there was a sanatorium
or a better climate.00:06:20
My father talked to me a lot.00:06:22
I was scared
and intimidated by him.00:06:31
It's not that he beat me.
He was just an authority figure.00:06:39
[ didn't like school.00:06:41
I dreamed of becoming a coal stoker.00:06:43
There was central heating,
and furnaces needed stoking.00:06:47
An older friend of mine,
Skowron, was a stoker.00:06:51
I thought being a stoker
would be wonderful.00:06:54
But my parents didn't share
my enthusiasm for the idea,00:07:01
so they tried to find a school for me.00:07:04
My father was smart and got me00:07:08
into a training school for firemen,
which was clever of him,00:07:12
because I soon realized
I didn't want to be a fireman.00:07:16
Just stoking a real furnace once00:07:18
would also have put me off
being a stoker.00:07:21
How come you ended up in Warsaw?00:07:24
My family only moved
to Warsaw much later.00:07:28
I went first,00:07:30
because a distant relative
ran a school for stage technicians.00:07:37
My younger sister entered
the same school soon after.00:07:42
But my parents still lived00:07:45
220 miles from Warsaw,00:07:47
and my father died
while I was still in that school.00:07:51
How did you take it?00:07:54
It was hard.00:07:57
- Did you cry?
- Yes.00:08:07
That school was fantastic.00:08:09
It awakened a need in us
or made us aware of the possibility00:08:13
that you could do more00:08:15
than produce useful things
or fulfill basic needs00:08:20
such as eating, sleeping,
or having a roof over your head.00:08:27
It taught us there was
another sphere in life00:08:30
that provides another kind of food —00:08:34
for the soul or the mind.00:08:38
So I wanted to work in theater,
but I thought it'd be better00:08:42
to be a stage director
than a scene painter.00:08:44
But that course required
a degree in another field.00:08:50
So I thought why study
history, Polish, or sociology00:08:57
when I could study something
already related to directing?00:09:03
So I decided
to study film directing00:09:05
to give me insights that would later
benefit my stage directing.00:09:12
To me, film school was not
a final goal but just a stage00:09:18
that could be useful later
when studying stage directing.00:09:22
So I tried to pass
the entrance exam, but I failed.00:09:27
How many times did you try?00:09:29
Three.00:09:32
But you persisted?00:09:35
Yes, it became
a point of honor for me.00:09:39
If those bastards didn't want me,
I'd show them.00:09:46
After film school,00:09:48
you made those bleak
black-and-white films.00:09:53
Because our world was very bleak.00:09:57
Not even black and white —
just black.00:09:59
Or gray.00:10:01
That's how things looked in Lodz,
where the film school was.00:10:06
Lodz is very visually compelling,00:10:09
because it's dirty and shabby,
like this place.00:10:13
But there it was a whole town,
so it was like an entire world.00:10:19
The faces in Lodz
look like the walls of the city.00:10:22
Tired, sad faces,00:10:25
with tragedy in their eyes,
and a sense of meaninglessness.00:10:30
Lives spent marking time in the same
spot, never getting anywhere.00:11:25
Perhaps we were the first
postwar film generation —00:11:29
I say “we” because
there were so many of us —00:11:34
who tried to describe
the world as it was.00:11:38
Of course we were depicting only
micro worlds, as the titles suggest:00:11:44
The School, The Factory,
The Hospital, or The Office.00:11:49
We were hoping
these micro worlds were connected00:11:54
and would describe
something more - life in Poland.00:12:00
Why describe your world?00:12:02
Living in an undescribed
world is very hard.00:12:05
You have to experience that
to understand it.00:12:08
It's like having no identity.00:12:13
All your problems and worries00:12:19
and sufferings —00:12:21
to speak in extreme terms —00:12:24
they're not reflected anywhere.00:12:29
They're scattered and diffused,
and their only reference point is you.00:12:33
That's why you find
no support anywhere:00:12:37
because you can't relate to anything,
since nothing has been described00:12:40
or properly named.
You're on your own.00:12:43
But our descriptive tools were used
for purposes of propaganda,00:12:48
to promote ideas
that might seem noble in theory,00:12:54
but in practice it always ended up
the same — with a gun pointing at you.00:12:59
We lived according to ideals:
fraternity, equality, and justice.00:13:03
But none of these things existed,
least of all justice.00:13:08
Communism
used the term “freedom” —00:13:12
but our country wasn't free.00:13:14
You couldn't state
your opinion in public.00:13:18
In Poland we could in private,00:13:20
but in Russia
you risked being sent to Siberia00:13:26
to die a slow death00:13:29
felling the frozen frees.00:13:32
Documentaries deal with people
who live real, everyday lives.00:13:39
But if these people trusted us
and told us the truth about their lives,00:13:44
it could be used against them —
which sometimes happened.00:13:50
The more invisible our tools were,00:13:53
the greater the danger we'd end up,00:13:55
with our cameras and microphones,00:14:00
somewhere we had no right to be,00:14:04
in places where everyone has a right
to their privacy and solitude,00:14:08
their joy or pain —
in complete peace.00:14:21
Are we free to film real death00:14:25
for a documentary?00:14:27
When someone's really dying,
aren't they entitled to solitude?00:14:32
Does one not have the right
to experience death...00:14:37
in harmony
with one's own inner principles...00:14:43
or with one's own course in life?00:14:51
You made the film Talking Heads.00:14:54
You have enough film, Jacek?00:14:57
So I can be a talking head?
-I'm fine.00:15:00
With Talking Heads
we conducted a sort of a survey00:15:07
quite unlike what's done on TV,00:15:09
where they lie in wait00:15:12
to question an unprepared person.00:15:16
We asked 100 people...00:15:20
the following simple questions
some days before filming:00:15:27
What year were you born?00:15:31
Who are you?00:15:34
What do you most wish for?00:15:39
It was 1979,00:15:41
and I believed that a portrait
of 100 individuals —00:15:46
of whom 40 appear in the film —00:15:49
could offer a portrait
of our common mindset.00:15:55
I'm a history teacher.00:15:58
What matters most to me
is freedom for each person00:16:00
to decide their own fate
and make their own choices.00:16:04
What I'd like —
what I think everyone would like —00:16:08
is freedom in the broadest
sense of the word,00:16:11
the kind of freedom
that doesn't favor the strongest.00:16:15
It may seem unrealistic,
but what I want in life00:16:20
is to see democracy
and tolerance introduced for real00:16:24
and not just talked about.00:16:27
These people didn't know
exactly what they wanted,00:16:34
but it belonged to a sphere
they never believed they'd achieve:00:16:40
freedom, and living
in a normal, democratic country...00:16:50
where they could make decisions
and take responsibility for them.00:16:55
Just one drunkard said,
“I'm fine.”00:16:58
I'm a chemical engineer,00:17:01
but now I drink.00:17:05
What would I like?00:17:07
Nothing. Everything's just fine.00:17:10
What would I like?00:17:13
Calm.00:17:15
And you can't attain that —
but you can aspire to it.00:17:18
And the path is an interesting one.00:17:20
Who am I? A retired film director.
That's the truth now.00:17:26
Yes.00:17:29
I'm 100 years old.00:17:32
And what would you like?00:17:35
How much more do I want?
To live longer.00:17:41
To live longer.00:17:49
Did you have pleasant dreams?00:17:51
No, I didn't fall asleep
until 6:00. Look.00:17:57
Jacek, you see this?00:17:59
The dog scratched my eye.00:18:02
I drove here like this.00:18:09
You could drive?00:18:11
Yes, but I can't judge distance.00:18:13
For example,
I can't tell where that twig is.00:18:17
Here?00:18:20
I think I got it.00:18:25
What do you want me to draw?00:18:31
It looks like Prime Minister Oleksy.00:18:35
They might resent that.00:18:37
Should he be holding something?00:18:40
Let's put something
in his hand for perspective.00:18:46
Let's suppose he’s attending
a party function in Moscow.00:18:52
And we'll have him reading
Gazeta Wyborcza.00:18:59
It's a bird.
You want more animals?00:19:02
Yes, a small dog or cat.00:19:07
A small cat that wants
to catch the bird.00:19:10
Let's have the bird eat the cat.00:19:12
The cat's sitting here...00:19:15
with paws outstretched...00:19:18
lying in wait.00:19:21
There's the cat.00:19:23
It's a gray cat.00:19:26
There...00:19:29
The Calm was a fictional story
with a plot —00:19:34
maybe not a very exciting one,
but a plot nonetheless.00:19:38
It was also a sort of documentary.00:19:45
Hi.00:19:47
My name's Socha.00:19:49
Gralak's the name.
Hello.00:19:53
Gralak.00:19:56
Seems you did some time.00:19:58
Yeah, three years,
though it was supposed to be five.00:20:02
It could happen to anyone.00:20:05
Yes, it could happen to anyone.00:20:07
Hello. Gralak's the name.00:20:12
The foreman's here.
I'll show you around.00:20:20
It was a film about a guy
who wants little or nothing.00:20:24
Next to nothing.
Maybe that much.00:20:28
But he can't even attain that.00:20:30
A woman, children...00:20:34
a place of my own.00:20:35
Dinner at home every night.00:20:46
I turn my salary over to her...00:20:50
keeping just enough for cigarettes.00:20:55
Work and then home.00:20:59
The woman...
The children doing their homework.00:21:02
- Exactly.
- Exactly!00:21:05
Television.00:21:08
Channel 2700:21:09
Whatever's on.00:21:11
I'll watch 'em all.00:21:14
The film is about
a small group of people striking.00:21:17
The term “strike” didn't exist
under the Communist system.00:21:22
The film suddenly
became very inconvenient,00:21:25
because it very frankly named
that which Communist propaganda00:21:30
never dared mention.00:21:33
What's going on?00:21:36
We're not working.00:21:38
Why not?00:21:40
They're screwing us over.00:21:45
The film wasn't shown
until three years later.00:21:49
I had to make a few cuts
that spoiled it,00:21:55
but the main idea and atmosphere
remained intact.00:22:02
Otherwise
I wouldn't have made the cuts.00:22:05
He's scared.00:22:09
- What do you mean, they sacked them?
- Just that.00:22:14
They'll all just scatter.00:22:16
But why, gentlemen?00:22:20
Why?00:22:23
The interesting thing was
that the censor often said,00:22:26
“I'm on your side.00:22:29
I share your views.00:22:32
But those bastards
won't let me show it.”00:22:43
Go on.00:22:45
Don't worry.
I'll be along soon.00:22:50
The film was important
because we managed to convey00:22:54
that intangible thing
that censorship can't destroy:00:23:00
a kind of mystery... or metaphysics.00:23:05
Look!00:23:14
You see that?00:23:16
There's nothing there.00:23:20
It hasn't started yet.00:23:22
I don't know where it's coming from.
This is the third time.00:23:26
I fix it. Then the horses appear,
followed by a test pattern.00:23:42
In The Calm,
a motif appears for the first time00:23:46
that became an important
element in your films: horses.00:23:52
What was their significance?00:23:58
Maybe a longing
for what they have.00:24:01
They can run wherever they want.00:24:05
They can do as they want
and run free with no obligations.00:24:10
But that would be foo simple —
Just their symbolic significance.00:24:15
But horses turn up
at strange moments,00:24:22
like some metaphysical element.00:24:25
Look how they showed up here.00:24:31
To this day...00:24:34
I have the feeling
that when I was six,00:24:38
I saw an elephant in the street.00:24:42
I'm sure of it.00:24:45
I was told one just didn't see
elephants in Gtubczyce,00:24:49
a small town in western Poland,
in the town square.00:24:54
How did it get there?00:24:56
Was it a mystery?
Déja vu? A premonition?00:25:00
Was it a sense
that there must be something00:25:04
beyond what we can see?00:25:13
Not long ago I met an Italian man00:25:16
who'd had an experience00:25:19
like that of the woman in
The Double Life of Véronique.00:25:23
He woke up in a fright one night00:25:28
and couldn't get back to sleep.00:25:32
The next day, a friend showed him00:25:36
a picture of an American rock band,00:25:39
and he was in the picture,
though he had never been to America.00:25:45
Later he found out that00:25:48
that singer had died...00:25:53
the same night00:25:55
that this man had woken up
with this awful foreboding.00:26:08
These mysterious feelings...00:26:14
this obscure sense of mystery
is always there.00:26:21
Even right now.00:26:33
- How's it going?
- Warm weather at last.00:26:45
This reminds me of your film
Camera Buff.00:26:50
There, where costumes now hang,
there was a screen.00:26:54
Back there was a projection room...00:26:59
and we'd show films
in 16 mm and 8 mm.00:27:05
Nobody uses this equipment now.00:27:07
The enthusiasm
of those days is gone.00:27:10
This was full of reels of film
we developed ourselves.00:27:16
We did it all by ourselves
in developing tanks.00:27:19
Color too.
16 mm and Super 8.00:27:23
We had reels hanging everywhere.00:27:26
Those were great years, my friend.00:27:30
There are no real enthusiasts
around these days.00:27:33
Glad to see you here.00:27:35
Hi there.
Look at all of us here.00:27:38
During the festival
I realized one thing:00:27:43
We can't go on making films
about party functions.00:27:46
But you won a prize.00:27:47
So what? We have to do
things differently now.00:27:51
We have to make films00:27:53
about people and what they feel.00:27:56
I remember when the boss
would lend us his Volga.00:28:02
We'd take our cameras
and drive off to film a meeting.00:28:07
- The boss had an agenda.
- That's right.00:28:10
It was like a game.
We'd organize the meeting,00:28:14
and they'd provide
the camera and film.00:28:17
We needed funding.00:28:19
Everybody knew that the cultural
centers were run by local authorities.00:28:24
The authorities liked to show off.00:28:28
When party officials visited,00:28:32
we'd screen our films.00:28:37
We were helping to shore up
the local authorities.00:28:42
They were proud to have
amateur artists among them.00:28:46
And you got the chance to make films.
- Exactly.00:28:55
Guide me.00:28:59
Careful.00:29:06
The character in Camera Buff
had a Krasnogorsk camera.00:29:11
There's gotta be one
around here too.00:29:18
Find the handle.00:29:22
We made Camera Buff in 1978.00:29:25
It was a simple story
about a guy around 3000:29:31
who loves
his newborn daughter so much00:29:34
that he starts filming her
with his camera.00:29:39
She's wet.00:29:44
Don't film her naked.00:29:47
- Why not?
- She's a girl.00:29:51
But then he starts filming00:29:54
other things too,00:29:56
everything going on around him.00:30:12
What are you doing?00:30:14
Oh, sorry, sir.00:30:16
Now I ask you, Mr. Mosz:
What are you doing?00:30:19
You could say it's about a guy
who realizes the power of the camera,00:30:25
and how it can destroy
everything he holds dear:00:30:31
his family life,00:30:34
his relationship with his wife,
his love for his daughter.00:30:37
Clean that up!00:30:45
Is this like in the movies?00:30:48
Is it?00:30:52
Are you crazy?00:30:53
I remember one scene in particular.00:30:57
Maybe it wasn't shot very well,
but that's not important.00:31:00
Its message was symbolic.00:31:04
The man makes a film critical
of the world around him,00:31:09
and when he realizes00:31:11
it can be manipulated and used00:31:15
against the people he filmed,00:31:17
he decides to overexpose the film.00:31:20
You're overexposing it.
Filip!00:31:23
You'll ruin it!00:31:28
Then run after it.00:31:29
Go on!00:31:31
It was a desperate attempt00:31:34
to disavow responsibility
for what he'd done.00:31:38
That of course applies to me too,00:31:42
in the sense that I often felt00:31:45
like leaving my films unfinished.00:32:20
In the end, when the character00:32:23
turns the camera on himself,00:32:26
he's realized one can only portray
the world through oneself.00:32:36
She woke up at 4:00 a.m.00:32:39
I was eating bread.00:32:41
That was a year ago.00:32:45
She was in a lot of pain
and drenched in sweat.00:32:50
I carried her almost all the way.00:32:53
If you were to turn
the camera on yourself,00:32:56
what would the first words
of your story be?00:33:01
I think I turn the camera
on myself in all my films.00:33:05
Perhaps not all the time,
but very often.00:33:08
But because I do it
in a way nobody can see,00:33:13
even though I want
this film to be a success,00:33:19
I won't tell you how.00:33:26
- Anything interesting happen?
- I don't know how interesting.00:33:29
On my way here
I gave an elderly couple a lift,00:33:33
and we drove along
making the usual small talk:00:33:37
“Good thing it rained yesterday.
Everything will grow better.”00:33:41
And the woman said,
“These things aren't in our hands.”00:33:46
The typical grandmother type.
“The Lord decides these things.00:33:50
If he wants it to rain, it will rain.00:33:53
If he wants a drought,
there'll be a drought.00:33:56
All orders come from on high.”00:34:01
For that old woman,00:34:04
everything happens by God's command.00:34:08
- The old woman in the car?
- Yes.00:34:10
Would you say instead
that everything happens by chance?00:34:13
No, everything depends
on the sum of several different things00:34:17
that come together simultaneously.00:34:19
Certainly our will,
for one thing...00:34:23
and our destiny, or fate,
which controls us,00:34:27
though we can influence it a bit.00:34:30
As for chance,
not much depends on chance.00:34:34
It's more about the path
we choose than who we are.00:34:41
What caused you
to be here right this moment00:34:45
on this veranda in Poreby?00:34:47
Several things.00:34:51
I really think
if we decide to tell stories,00:34:59
whether we write them down
or film them,00:35:04
we must know who we are00:35:09
and where we come from00:35:12
in a general
and an immediate sense00:35:17
to be able to tell those stories00:35:21
and understand
our characters' lives.00:35:25
I remember when I was
maybe about 14...00:35:32
and for a short time
I went to a regular high school.00:35:40
There was one
very strict history teacher.00:35:46
We were all scared of him.00:35:50
I came there00:35:53
directly from the training school
for firemen.00:36:00
And I misspelled “history”
and “chemistry” in my exercise book.00:36:08
When this history teacher saw that,
he said with a sigh,00:36:12
“Kieslowski, you'd be
better off as a fireman.”00:36:16
At that moment I decided00:36:19
I never wanted
to be spoken to like that again.00:36:23
- And it hasn't happened since?
- Never.00:36:27
Different incidents can
completely change people's lives.00:36:33
A person might lose a leg,
or an eye.00:36:38
Yes, but if you lose
a leg, or an eye, or a hand,00:36:45
it will only affect...00:36:49
the person you already are.00:36:53
You may have lost
a hand or an eye,00:36:56
but the kind of person
you are hasn't changed.00:37:00
If you were a real bastard before,
now you're a one-eyed bastard.00:37:03
If you were
a good person before,00:37:06
NOW you're a good person
with one eye.00:37:10
That's all.
That doesn't change.00:37:14
I have one really good character trait:
I'm a pessimist.00:37:17
So I imagine the worst
in everything.00:37:21
To me, the future is a black hole.00:37:26
We spoke about fear.
If I fear anything, it's the future.00:37:33
That's what frightens me.00:37:37
The position I've reached in life00:37:39
is a little better
than the one I deserve.00:37:43
Life's treated me better
than I deserve.00:37:46
I'm in a row higher up than | deserve.00:38:19
- You like train stations?
- Yes, but I hate filming them.00:38:25
What do you like
about them in real life?00:38:29
The fact there are no names
at a train station.00:38:32
You're always anonymous there.00:38:38
Blind Chance is three stories
about the same young man.00:38:45
Everything depends
on whether he'll make his train00:38:50
or whether the police will catch him
and stop him from leaving.00:38:55
That determines three different
directions for his life.00:39:14
In each case he's the same person,00:39:16
but he finds himself
in a different situation each time.00:39:20
He’s the same human being,
but he’s someone else professionally,00:39:23
and his worldview is different,00:39:26
because politically he ends up
on two different sides.00:39:29
In the first two stories,
he's on two different sides.00:39:31
In the third story,
he doesn't take sides.00:39:35
What else is different?
He dies in the third story00:39:39
but escapes death in the other two.00:40:20
Why was there
so much politics in your films?00:40:24
Because we were — and are —
surrounded by politics.00:40:29
When I made those films,
I felt that politics was meaningful,00:40:34
that politics affected us,00:40:37
and that we could affect
the political process.00:40:40
It had to do with the hopes we had
in Europe and even in Poland.00:40:45
Even in a Communist country,00:40:47
we hoped things could improve
and be put in order.00:40:52
We didn't realize Communism
might actually destroy itself.00:40:56
We only hoped things
might get a bit easier,00:41:00
that we'd have more freedom
to travel and to speak.00:41:04
The audience felt that these films
were about themselves.00:41:08
I think the audience in the '70s
saw themselves on the screen.00:41:14
They felt connected.00:41:16
They felt they could act together.
They brought about upheavals.00:41:20
That's right.00:41:21
First one upheaval
and then the next,00:41:24
and the result of the “next” was
that we got what we wanted.00:41:27
And what did we get?00:41:29
Shit, practically speaking.00:41:32
We got what we wanted,00:41:34
but it's just a caricature of our goals.00:41:38
And that's putting it nicely.00:41:41
If you had political influence,
would you do something drastic?00:41:46
Like tear up my clothes
or wave a flag?00:41:49
You could lend your name to a cause,
address the public.00:41:52
Anybody can say anything today,
and it means nothing.00:41:56
Nobody will punish you.00:41:59
Before,
you actually risked something.00:42:02
Not a lot, but something.00:42:05
Now you can say anything.
So what?00:42:09
You could be a leader.00:42:11
I don't want to be a leader.
God no! That's not my job.00:42:15
But if you could, would you do
something like that for a good cause?00:42:19
No, I don't want to be a leader.00:42:24
I don't want the responsibility.00:42:27
This is your train, isn't it?
See ya.00:42:59
- Anything interesting to report?
- I dreamed I could fly.00:43:04
I started from the foot of a tower...00:43:08
and then rose and flew up,
as normal as could be, to a tree.00:43:13
There was a tree there.00:43:50
The Decalogue
was fen films made for TV,00:43:53
each related in some way00:43:56
to one of the Ten Commandments.00:44:00
When we wrote the series
in 1983-84,00:44:05
we wanted to revisit...00:44:08
those ten well-formulated sentences.00:44:13
God exists.00:44:17
It's very simple.00:44:19
If you believe, that is.00:44:24
And you believe00:44:25
that God exists?00:44:28
Yes.00:44:31
Who is he?00:44:34
I was little.00:44:36
I remember my first confession
and my first communion clearly.00:44:41
I found it very moving
and very cleansing.00:44:47
I think that that experience sprang
from a kind of childish naïveté.00:44:51
I was eight, or maybe even six.00:44:55
I think that that naïveté
is a good thing.00:44:59
You can get so close
to what you believe00:45:03
without second thoughts
or obligations.00:45:08
I know lots of people who are happy
because they believe in God.00:45:19
We need a point of reference,00:45:23
something to refer to00:45:26
that can serve as the ultimate
criterion for all that we do.00:45:31
God - if he exists —
is such a reference point.00:45:44
I think I have close ties to God.00:45:47
They're very personal.00:45:51
Very private. Very individual.00:46:01
I ask him to let
certain things fall into place00:46:05
or let events go
in a certain direction.00:46:09
I ask him to give me
what I need at that moment.00:46:15
Mostly in the intellectual realm.
I ask him to give me clarity.00:46:19
Or in the emotional realm.00:46:23
I ask him to give me a certain feeling
that I need at the moment.00:46:28
I ask, and whether he does
or not is another matter.00:46:31
Sometimes he does,
sometimes he doesn't00:46:39
Do you believe that people
who do wrong in this world00:46:44
are punished in the next?00:46:50
First you have to ask
whether there even is a next world.00:46:53
That's a beautiful mystery
we'll never know the answer 0.00:47:00
And it's good
for it to remain a mystery.00:47:20
Fifth Commandment;
Thou shalt not kill.00:47:30
Too bad that didn't work.00:47:38
We can’t start by the tree as usual
because it's raining.00:47:45
You're wrong.00:47:47
About what?00:47:49
Everything.00:47:53
You're wrong about everything.00:47:59
People aren't bad.00:48:01
It's not true.00:48:04
Yes, it is.00:48:05
They may be weak sometimes, but -00:48:08
That boy who found out
his father wasn’t his father —00:48:11
was that your boyfriend
or your brother?00:48:16
My brother.00:48:17
How old is he?00:48:21
Sixteen.00:48:22
Has he been shooting up
a long time?00:48:27
How did you know?00:48:28
It wasn't hard to guess.00:48:34
Red leaves room
for many possible interpretations,00:48:36
which distinguishes it
from the other films.00:48:41
Do you have
your own Interpretation?00:48:45
No, I accept them all.00:48:47
That's how | work.00:48:51
I gather a lot of interpretations
and tell the viewer,00:48:57
“Choose one.
See which you like.”00:49:00
You went to the West to make films.
That's when we lost touch.00:49:04
What did you most miss abroad?00:49:08
Wherever I go abroad,
whether making films or not,00:49:12
I always feel like a stranger.00:49:16
I always feel ill at ease
and want to go home.00:49:21
You particularly dislike America.
Why?00:49:24
What I don't like about America00:49:30
is the pursuit of empty talk00:49:36
combined with a very high degree
of self-satisfaction.00:49:39
If | ask my American agent
how he is, he’ll say,00:49:44
“I'm extremely well.”00:49:46
It can't be “okay” or “well.”00:49:49
It has to be “extremely well.”00:49:52
I'm not extremely well.
I'm not even well.00:49:56
I'm what they'd call in English “so-so.”00:50:00
Do you think Western civilization
is coming to an end?00:50:05
We’re clearly going
through a cultural crisis00:50:10
in which we're trying
to discern the values of life.00:50:15
But because we're in that crisis,
people are looking for a solution,00:50:20
and perhaps they'll find it.00:50:23
But find it or not,00:50:25
the intensity of the search
will change their attitude toward life.00:50:30
So there is a cultural crisis going on?00:50:32
I never denied it.00:50:34
On the contrary, I admit it,00:50:37
but it's not the end of the world.00:50:40
- But the crisis is total.
- So what?00:50:43
- That's the end of the world.
- Call it what you like.00:50:47
I'm telling you what I think.00:50:49
So there's a general crisis,
but everything's fine.00:50:53
No, the crisis means
that the world is now00:50:58
at the bottom of a sine curve.00:51:02
Nature being what it is,
it will now climb,00:51:06
only to fall again later.00:51:10
What's the most important part
of that process?00:51:13
If I knew the answer to that,00:51:15
I wouldn't be sitting
by some stupid fireplace00:51:19
but in a president's chair,00:51:21
telling everyone
what to do to make it better.00:51:25
But I don't know.00:51:27
Knowing isn't my profession.00:51:30
Not knowing is.00:51:39
It was your profession.00:51:43
It still is,
because I still write scripts.00:51:47
I'm bound by contracts,
so I have to write something.00:51:50
Maybe something will come of it.
Maybe someone will film them.00:51:54
- Maybe you?
- I don't think so.00:51:57
I hope I've caught myself
in such a clever trap...00:52:03
that I can never escape.00:52:08
What will you do with your life now?00:52:13
Nothing.00:52:15
I sit on a chair or on a bench.00:52:19
I get a good night's sleep.00:52:23
And when I bathe in the morning...00:52:27
it's to enjoy life, not to make a film.00:52:31
That's a very nice feeling.00:52:37
Right now, your watch
is the star of our film.00:52:40
Don't worry. Everything's fine.00:52:42
It just reflects the light.00:52:45
- Is it okay?
- Yeah.00:52:51
You sure?
Shall we do that part again?00:52:55
We'll do it again.00:53:01
What will you do with your life now?00:53:05
Nothing right now.00:53:09
I sit and scribble things.00:53:12
I have some scripts to write.
I have some contracts.00:53:16
Maybe someone
will turn them into films.00:53:19
Perhaps it will lead to something.
We'll see.00:53:25
What do you do on weekdays?00:53:27
You think I only write scripts
on Sundays?00:53:30
- Tell us about that bench you sit on.
- What bench?00:53:34
Tell us about how you sit on it.00:53:37
There's no bench.
That's just something I said.00:53:39
- But you mentioned a bench —
- I have no bench.00:53:43
- Then tell us about your bath.
- What bath?Description:
Featurettes Three Colors: Red (1994) Original title: Three Colors: Red Part-time model Valentine (Irène Jacob) meets a retired judge (Jean-Louis Trintignant) who lives in her neighborhood after she runs over his dog. At first the judge gifts Valentine with the dog, but her possessive boyfriend won't allow her to keep it. When she returns with the dog to the judge's house, she discovers him listening in on his neighbors' phone conversations. At first Valentine is outraged, but her debates with the judge over his behavior soon leads them to form a strange bond. Director: Krzysztof Kieslowski IMDb: https://www.imdb.com/title/tt0111495/ Playlist: https://www.youtube.com/playlist?list=PLiGk7IwF02cD7U87srwTnOA5nI48jx3cj&si=lGGn55oNwuO6-P3G Krzysztof Kieslowski - I'm So-So... (1995) Director/Writer Krzysztof Kieslowski shares his views on life, people, politics and comments a little about some of his films in a very casual conversation. Director: Krzysztof Wierzbicki DISCLAIMER No copyright infringement intended. We do not own this content. If you are the copyright holder and wish to have it removed or credited, please contact us and we will comply with your request immediately.
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