"For me, the screenplay is like a clothes hanger. One side is attached to the wall; the other side is also attached to the wall. One end is the beginning; the other is the ending. The scenes of the movie are clothes hanging on this line. An…d if the end of the line isn’t attached to anything you cannot hang any clothes at all. While I’m writing, I constantly think about the ending of the movie, even when I’m starting.”
The script is governed by its own rules, it isn’t dependent on the country. It has to have a certain structure, a certain dramatic effect…We [Kieslowski and co-writer, Krzysztof Piesiewicz] worked on this script in the same way, but it was difficult because it deals with things you can’t name. If you do, they seem trivial and stupid. It touches on a certain sensitivity, on a premonition, on this delicate area of life that is difficult to address directly. If there weren’t a certain tension in this film, resulting from the feelings and emotions of the heroine, this film would be non-existent. We knew that from the beginning.
Krzysztof Kieslowski on writing the script for The Double Life of Veronique
Black death you are my bread.
I eat you in my heart, terror is my sweetness,
Madness is in my hand.