Krzysztof Kieślowski

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

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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

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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

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[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

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Of course, you could, no doubt, call my going to film school the biggest mistake I ever made