From the Trois Couleurs soundtrack box set liner notes

   

At the beginning of the film Valentine isn't really aware of what hurts her, her problems in life (her boyfriend is far away, her brother's got problems, her mother feels lonely). She would like to do something good, but she doesn't know how. She says: "I want peace" (however, nothing is very peaceful around her). Then something changes when she meets the judge, Jean-Louis Trintignant. When I read the script I was impressed by the way she is deeply involved with this man, who, at first sight, has nothing to do with her. She feels intimately concerned, throughout this man's attacks and provocations. She stays and reacts where others might have got up and left thinking: "this is none of my business..." So what happened in this encounter, where they both seem to finally attain something essential? They blush inside themselves, red for rage, shame and confusion. The scenes are long, some of them needed a week in which to be filmed. We often had to do the reverse shots the next day for a scene we'd filmed the day before. To retain the tension, the truth of a scene from one day to the next is sometimes difficult. As for Valentine and the Judge, they don't spare each other. During the shooting and rehearsals of all these scenes, Krzysztof crouched as near as possible to Jean-Louis and I, watching first one and then the other, finding out where the tension was, what was at stake. We would discuss it, and then repeat a phrase, a movement. There are many people on a set, Krzysztof puts his confidence in them and directs each one's participation in the scene as it unfolds. He can adopt an idea at the last minute, transform it or else say "No, not in this scene, it's not quite that..." (leading to a better understanding). We took all the time necessary to rehearse. Nevertheless, Krzysztof likes to shoot fast, with few takes to keep up the pressure. In the film there are also the non-encounters between Auguste (Jean-Pierre Lorit) and Valentine: they keep passing each other, without meeting. Although perhaps they are meant for each other (which reminds me of Veronique who didn't see Veronika in "La Double Vie de Veronique", although they were face to face!). Valentine doesn't know how to face up to her life, her love, her sorrows and nor does Auguste. So how can she be seen by Auguste, or see him? How can they release themselves from this blindness? I think of the words of the Bob Dylan song, "The answer, my friend, is blowing in the wind...the answer is blowing in the wind". Jean-Louis Trintignant: The filming was a joy - I loved the whole crew. I only worked with one partner, Irène Jacob. She is a marvellous woman, as she is a marvellous actress. I'm very pleased with my work in this film: I say this quite simply, because I don't think it is thanks to me...One example: right at the end of the film where my character goes to the window, looks outside and tears come into his eyes. On the other side of the window was the camera, surrounded by the whole crew. I tried to make myself cry, but I couldn't manage it. Kieslowski called the make-up lady. She sprayed menthol into my eyes. We shot the scene. Kieslowski said: "It's good, next shot". I've just seen the finished film, I waited anxiously for this scene. I cried when I saw myself.