Here's AFS Head of Film & Creative Media Holly Herrick on the THREE COLORS.
"Krzysztof Kieslowski’s THREE COLORS are some of the most visually arresting films of contemporary cinema, and are packed with numerous camera set ups to achieve his signature precision in the cinematography. Yet the filmmaker never used a storyboard or indicated camera direction in his screenplays (which, in the latter years, were collaborations with the other brilliant Krzysztof, Piesiewicz). According to the filmmaker, the camera was placed where it forcibly had to be to capture the meaning of the scene. In Kieslowski’s mind, there was only one right camera approach for any given moment.
"We get a window into these choices, and into what connects the films in the THREE COLORS cycle, in the following videos. Criterion special features are often a master class in filmmaking, and such is the case with the Kieslowski interviews that they published on their beautiful 2011 release of THREE COLORS, portions of which are published below in the link from The Film Stage. In them, Kieslowski discusses manufacturing a sense of déja vu in RED, what close-ups mean in BLUE, and some of the hidden themes that tie the three films together as a single cycle."