Reading books/movies/comics about intelligents will evoke the blue inside ourselves...
something that we don't want to face to
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Booklet
"The Double Life of Veronique"
As emotions beings, Weronika and Veronique are at once sexual and desexualized. Both women are sexually active, yet their truly intense ecstasies come in nonsexual situations: few cinematic images of female pleasure are as pronounced as Weronika's face in the rain, or as that swooping camera movement over Veronique when she gets up after reading on her bed. Such images make the two women appear less like adults than like presexual children, subject to the authority, influence, and manipulation of older men: Alexandre, the puppeteer, two beloved fathers, Weronika's venerable conductor.
The lesson of this motif of chance and alternate histories seems to be that we live in a world in which when one choice leads to catastrophic ending, we can return to the starting point and make another, better choice -- what was the first time a suicidal mistake can be in the second time done in a correct way, so that the opportunity is not missed.
A Short Film about Killing
-- Green is supposed to be the colour of spring, the colour of hope, but if you put a green filter on the camera, the world becomes much cruler, duller, and emptier.
Kiewslowske's universe is a gnostic universe, a not-yet-fully-constituted universe created by a perverse and confused, idiotic God who screwed up the work of Creation, producing an imperfect world, and then keeps trying to save whatever can be saved by repeated new attempts -- we are all "Children of a Lesser God".
This unfinished character of reality grounds our freedom of choice: it depends on us which version will prevail.
Polish Weronika chooses her vocation, that of a singer, ignoring her heart failure, and meets early death as a result of it, while the French Veronqiue betrays her vocation and chooses a quiet, satisfied life.
It is not simply that Veronique profits from her awareness of the suicidal character of Weronika's choice but also that she accomplishes the act of ethical betrayal by abandoning singing, her true vocation.
We have the double life of (one) Veronique. That is, the same person is allowed to redeem (or lose?) herself by being given another chance and repeating the fatal choice.
So in The Double Life of Veronique, perhaps, we are not dealing with the "mystery" of the communication between two Veroniques but with one and the same Veronique who travels back and forth in time.
Kieslowski on Kiewslowski
We phoned Bruce Schwartz, and it turned out that he wasn't working with puppets anymore, because he couldn't make a living out of them. He was forty-seven. What has this moronic world we live in come to? A man who's the best in the world at his profession can't make a living out of it, because this profession only consists of moving puppets. He had to give it up and now hangs paintings.
We tried to pick faces that expressed something. There were beautiful reactions. Beautiful. I had to cut them out later on, because the scene wouldn't take it, couldn't be that long. Wonderful material. Very beautiful faces and wonderful reactions. When we finished shooting that, there was a break. The children immediately surrounded him, and I saw a happy man.
this romantic, delicate story, about a certain tragic ballerina, had moved the children immensely. Some of them started to cry. For half an hour those children asked Schwartz all sorts of questions - technical questions, artistic questions. They also told him what they'd understood of the story, because the story didn't use words. They understood absolutely everything. Everything he'd wanted them to and even more. Suddenly I saw a truly happy man.
I love actors a lot, to be honest. They're such strange people. They'd do anything
for me. It often happens to me that they bring their views, feelings, their attitutdes to the world. I make use of this; I simply take it. I love them for it. And if you love someone, you try to be close to them, you want to see everything just as it is.
Of course, I had some idea of how I'd natrrate the story. That's why a compromise wa necessary. I had to tell the story in such a way as to make it comprehensibel to the audience. Whatever aspect of a film I'm thinking about - casting, script, the solution of individual scenes, dialogue, music, whatever - I always think of the audience.
I play on pure emotions in Veronique, because it's a film about emoitions and nothing else. What else is there other than emotions? What is important?
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