"The film is about sensibility, presentiments and relationships which are difficult to name, which are irrational. Showing this on film is difficult: if I show too much the mystery disappears; I can’t show too little because then nobody will understand anything. My search for the right balance between the obvious and the mysterious is the reason for all the various versions made in the cutting room. […]"
"At one stage, we had the idea of making as many versions of Véronique as there were cinemas in which the film was to be shown. In Paris, for example, the film was to be shown in seventeen cinemas. So we had the idea to make seventeen different versions. […] We shot enough material to make these versions possible. It would be possible to release this film with the concept that it was, so to speak, handmade. That if you go to a different cinema, you’ll see the same film but in a slightly different version; and if you go to yet another cinema, you’ll see yet another version—seemingly the same film but a little different. Maybe it’ll have a happier ending, or maybe slightly sadder—that’s the chance you take. Anyway, the possibility was there. But as always, of course, it turned out that production absolutely didn’t have the time, and that, in fact, there wasn’t any money for it either. Perhaps the money was less important. The main problem was time. There wasn’t any time left.” — Krzysztof Kieślowski