By Krzysztof Kieslowski, Danusia Stok
Krzystof Kieslowski premature dying in 1996 robbed cinema of 1 of its nice visionaries. Decalogue, The Double lifetime of Veronique and the Three shades trilogy earned Kieslowski his attractiveness as a world-class film-maker. He used to be notoriously reticent, or even dismissive of his paintings and ability, yet those frank and distinct discussions confirmed a fondness for film-making that lively a lifestyles disrupted by means of either Hilter and Stalin and the legacy those figures left in jap Europe. His fight to paintings as a film-maker mirrors the fight of Poland to reassert its id. In 1989, whilst the Berlin Wall collapsed and jap ecu states overthrew the oppressive Soviet burden, his orientation gravitated in the direction of France. relocating among Poland and France, Kieslowski created one of the most very important cinematic works of the Nineties.
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Maria Popova at brainpickings. org: In 1985, 3 years after Barnes died on the age of 90, outliving each individual she ever profiled (“It’s negative to survive your individual new release. I want i'll be dead,” Barnes had remarked a decade earlier), those remarkable conversations have been accrued in Interviews by way of Djuna Barnes (public library), that includes Barnes’s personal drawings of her matters. yet what makes them specifically compelling is that Barnes, like today’s so much masterful interviewers, poured into those conversations a huge quantity of her personal middle, brain, and sensibility, in order that they normally mirrored as a lot approximately her as they did approximately her subjects.
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Additional info for Kieslowski on Kieslowski
What really brought you here? You've got to know this. That's the starting point. The years in which you don't work on yourself like this are, in fact, wasted. You might feel or understand something intuitively and, consequently, the results are arbitrary. It's only when you've done this work that you can see a certain order in events and their effects. I tried to fathom out what brought me to this point in my life, too, because without such an authentic, thorough and merciless analysis, you can't tell a story.
Watching the great films, it wasn't even jealousy I felt because you can only be jealous of something which, theoretically, is within your reach. You can envy that, but you can't envy something which is completely beyond you. There was nothing wrong with my feelings. On the contrary, they were very positive; a certain admiration and bedazzlement that something like that is possible and that it would always be beyond my reach. Once, somewhere in Holland I think it was, they asked me to choose some films which I had liked a lot.
When Solidarity came along, I simply asked the Association to dismiss me - I wasn't cut out for such revolutionary times. But going back to the subject of film school, I was there along with Jerzy Skolimow~ki,~4 who was just leaving when I joined. Then when I was in my second year, Krzysztof Zanussi,*T Edek ~ e b r o w s k i , 'and ~ Antek Krauze17 left. We were a good team, my year, and got on very well together. ~9Also with us were Krzyi W o j c i e c h o ~ s kand i ~ ~ Piotr Wojciechowskiz1 who was already a good writer then, and still is.
Kieslowski on Kieslowski by Krzysztof Kieslowski, Danusia Stok