Zitat des Tages von Pawel Pawlikowski:
One of my favorite writers is Chekhov. I love his attitude toward the world. Just accept things for what they are. Don't judge. Be moral as you tell your story, but have no moral at the end. Just look at it.
The documentaries I made were never normal documentaries. They were about subjects I was obsessed with, and I suppose I thought I could sculpt them. What I think I do with my fiction is the same.
'Ida' doesn't set out to explain history. That's not what it's about. The story is focused on very concrete and complex characters who are full of humanity with all its paradoxes. They're not pawns used to illustrate some version of history or an ideology.
When I write, I imagine scenes. I write things down. I take photographs. I do some casting. I rewrite. It's a permanent making or remaking.
Art is not journalism. In art, you don't make it to convey a message.
I try to turn a place on film into a mental state. I always have three or four locations that I repeat and return to in a film, to make it more mythic. But my fiction films are relatively subjective stories, experienced though one character. And that always justifies a little stylisation in terms of landscape.
For me, good films and good books are irreducible to a lesson. You can't just kind of translate them into one statement. On the contrary, the more you do that, the less wisdom in art there is.
I think people crave those meaningful situations, stuff about faith, identity, dilemmas of live paradoxes in our souls. It's going back to a time where lives were really defined by history, and also how you behave in the face of history. It's kind of interesting to go back to that simpler humanity, simpler but deeper.
Just by my home is an entrance to the sewers they used in the Warsaw uprising. I grew up knowing people died down there. Warsaw was once a battleground; then it became a morgue. It's a city littered with ghosts. And that never left me.
'Ida' is about humanity, about guilt and forgiveness. It's not a film that deals with an issue as such. It's more universal.
In America, I don't think you have the creative freedom that I'm used to. Traditionally, it's a producer's cinema here.
The most interesting stuff happens when an authoritarian government removes itself a little and gives this margin of freedom. And then art is grabbed with both hands.
A good script is like a work of art in itself. I've read hundreds of scripts, and good ones are very rare. If the writer has something to say, and a voice, and a plot that matches character, and an emotional trajectory that works, then I'd be an idiot to fool around with it. It's just that few scripts ever are like that.
It's wonderful that Poland is free again and there's open debate and people can pursue their interests. I'm all for it.
For me, actors have to have a character, an aura, body language. They're not models. They used to call actors models. But I want them to participate in the film.
I always thought that life is full of stories and characters that feel like literary stories and characters. So when I started making documentaries, they weren't humble empirical things, just following people around. I was always trying to impose a story.
I grew up in a secular environment, you know, in the '60s and '70s. My mother's family was Catholic, but you know, just very kind of conventionally Catholic. You know, nothing - there was nothing, you know, extreme about their version of religion. And my father was a free spirit, you know? He had no time for religion at all.
In 2006, I started making a film called 'Restraint of Beasts.' While I was making it, I had a personal disaster. My wife fell ill, so we stopped shooting halfway through. And then sadly, my wife died.
I grew up cinematically in the '70s. I was watching a lot of Godard, Bresson, Dreyer, and all sorts of old films and the Czech New Wave.
I connect with all of the characters in my films. That's what makes you want to make a film, that you can enter the mindset, the situation, the conflict, the contradictions.
I actually studied literature and philosophy. So, when I started making films, I didn't really know what I was doing, and I was too proud and arrogant to learn.
I like to control my films from beginning to end, to write them the way I want.
I'm not emotionally excited by the power of cinema's tricks anymore.
To cast Ida, it took ages, and I was a bit desperate. I couldn't find somebody I could believe in. I spent months looking for the lead among young actresses and drama students.
It's so difficult to actually come up with ideas that you really fall in love with, you know? That's the most difficult thing about filmmaking - and that's my main challenge in life.