Kieslowski on Kieslowski

Book is great but this copy (and others, judging by other reviews) is terribly printed. All the photographs look like they were run through the Gameboy Camera printer or something, they're blurred and dithered and in some it's almost impossible to discern faces/etc. I know the words are the thing but he was a visual artist so y' know

Superb book.No really, this may very well be the book I have enjoyed the most, ever (though principally these kind of judgements are bollocks and nothing more, of course).If you have the slightest acquaintance with psychoanalysis (the Lacanian field, preferably), the book should be read with Zizek's "The Fright of Real Tears". Here Zizek has some really perceptive discussions on Kieslowski the filmmaker and on charachters in the Colour Trilogy - without too many forced obscene jokes, I might add.

A must-read for whoever is interested in both psychology and cinema

It's been wonderful having the opportunity to better know one of the best filmmakers in my opinion.The book does not just focus only on the director Kieslowski, but also in the person Kieslowski.As a big fan of Kieslowski's film, I say that this book is indispensable for all who admire his work.

Excellent. 100% recommendable.Thank you!

(Amazon Reviews is not really set up for comparisons. I read four books on Kieslowski essentially simultaneously: (i) Double Lives, Second Chances, (ii) The Cinema of Krzysztof Kieslowski, (iii) Krzysztof Kieslowski by Monika Maurer and (iv) Kieslowski on Kieslowski. By ‘simultaneously’, I mean that I read just the specific content on each film, before watching that film on DVD. I regard (i) as the best of the four - although (ii) is a very close second. So my review of (i) will be the most detailed. If any reader happens to find any review of interest, (s)he might choose to look at one or more of the others.)In its role as giving insight into the meaning of the films, this book performs rather less well than the others. However, such is the insight that Kieslowski gives into the process of the making of the films, that 5 stars is definitely justified. The revelation that Andie MacDowell was his first choice for Weronika/Véronique is fascinating. Irene Jacob was superb, but how wonderful to be able to speculate on what Andie MacDowell would have done with the role. Perhaps the most valuable insight given is his regard for the actual shooting as just the preliminary phase. The real film emerges from the editing phase.

A fascinating read.

In his own words, Krzysztof Kieslowski tells you about the agony and the ecstacy of the independent filmmaking process.The late Polish filmmaker is up to the challenge, delivering his characteristic frankness nestled within the pages of this short retrospective work, narrated in his own words, and magnificently edited (translated, too?) by Danusia Stok.The book is tailor-made for "idie" filmmaking buffs, and supplies a glimpse into the enticingly magical personality which was Kieslowski's. Eschewing a typical rote autobiographical style, Kieslowski divulges key details about himself via the device of his extensive filmography -- revealing things about his thinking process and the high value he places upon delicate human emotionality through a step-by-step examination of his long filmography.Spanning his early years as a prominent documentary filmmaker during the stifling years of Polish Communism and state censorship -- especially during the imposition of Marshal Law in Poland during 1980-1 when Kieslowski couldn't work for half a year -- and ending with his magnificent trilogy "Barwy" (Three Colours: Blue, White, Red), we're subjected to a feast of Kieslowski-isms regarding his thoughts pertaining to such diverse notions as:** casting for acting talent.** Kieslowski's penchant for making his ENTIRE crew a part of the idea-generating process for his films.** the nature of artistic filmmaking in Europe compared to commerical filmmaking in the US.** the demands of time on a filmmaker's personal life.** the differing range of skills between Western and Polish filmmaking crews.A right pity Krzysztof Kieslowski is no longer with us to share to a burgeoning generation of up-and-coming filmmakers what might very well some none-too-optimistic viewpoints on the state of today's "international" filmmaking.The book is written in Kieslowski's typical unassuming style -- par for the course from the Polish master. The late director doesn't bowl you over with how much he knows about film history, or about the complicated craft of filmmaking. Kieslowski doesn't tell you that he's better than you or me. Rather, through a detailed accounting of his past achievements, Kieslowski's emphasis is always upon that which is most human: the wellspring of all his works, and the central reason why filmmakers must indeed make films, in his esteemed opinion.Still, I found the book ended suddenly.Not shockingly so, just that the work might have gone on for much longer than its seemingly scant 227 pages. There's so much to know about this magnificent paragon of the film community, and if anything, it will be a primer for further reading on the man, the legend, and his favourite subject: films.Five-stars.-- ADM in Prague

Based on interviews between the master Polish film-maker and editor/translator Danusia Stok, Kieslowski On Kieslowski comes across as something of a stream of consciousness from the man – some of the subtleties in his thinking perhaps getting 'lost in translation’ – but what the book lacks in 'professional literary polish’ it more than makes up for in an authentic passion expressed for the personal, political and artistic. Compiled just after the completion of Three Colours Blue, but before White and Red (although all three films are discussed), we get ‘accounts’ of all Kieslowski’s work, from his early documentaries through to the later fiction films, with varying degrees of analysis of the work in question (as the man has the tendency to ‘wander off’ onto related, or not so related, topics).Unsurprisingly, what comes across is that the man’s approach to film-making has been heavily influenced by the oppressive political regimes in 60s/70s/80s Poland, giving rise to much criticism of these systems (whilst recognising that not all his fellow countrymen should be tarred with the same brush). Oddly enough, the film-maker is also of the view that the 'political control’ exerted during his Polish period still allowed for greater artistic freedom than would be the case under Hollywood’s overbearing 'capitalistic strictures’ i.e. box office at all costs. Other themes which emerge are the man’s trademark self-deprecation ('I haven’t got a great talent for films’) and his dismissive attitude to the ‘over-reading’ of his films ('A bottle of spilt milk is simply a bottle of spilt milk’). There is no denying the man’s love of cinema, though, saving his greatest praise for Tarkovsky, Bergman, Fellini and Loach’s Kes.

Unfortunately, this is a cheap "print-on-demand" edition of this book, which feels like a photocopy. The cover is curling after a few sessions of reading, some of the print is not sharp, and the photos are so blurred that one can barely make them out. Very disappointing. The contents of the book are excellent.

Excellent!

If you're interested in the creative proces of art, this is a one of the rare books that you will read several times over the years. Very inspiring, forthright, and un-pretentious, you get an insight to one of the greatest filmmakers.

Very lousy edition. You are paying 30€ just for some xerox copies of the original book. The pictures look very foggy, just like xerox copies. I bought the original edition in NY 15 years ago, costed me the half and looked very nice...