Pawel Pawlikowski Quotes
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If you wanted to make a film about British teenagers, it would be... well, it wouldn't interest me; let's put it like that. They'd be listening to music I hate, watching TV all the time, and talking about 'Big Brother.'
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I love good TV shows, but it's not what I do. I kind of sculpt my films as I go along. And TV is all about writing, so you just shoot, shoot, shoot what's written.
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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.
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'Ida' is about humanity, about guilt and forgiveness. It's not a film that deals with an issue as such. It's more universal.
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My films are always a reflection of where I am in my life.
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Every good film is a bit like a dream, when you come away from it. That's what you should aspire to, rather than some social document. I want to create a little world that will stay with the audience.
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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.
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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.
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It's much better to write a book and stick to the research - that's history. In cinema, emotional truth and psychological truth is much more important.
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I always write three or four projects at the same time. They're stories that I want to tell, and usually I dump them unfinished for the next one in order not to get too cornered and depressed about it.
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Strangely, you know, my parents, who left Poland separately and, you know, divorced, ended up marrying other people. But then they met again abroad, and they got together again.
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What's been lost is allowing cinema to be artful, playful, to have ambiguity, to have form, to be contemplative, to wish to be art. This slightly timeless approach to reality, like Chekhov in literature, where you look at all humanity and try to find what's transcendent.
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I'm so happy when someone does something original, and there's no focus group or planning committee. If the cinema doesn't get an injection of that once in a while, we're in trouble.
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I lived a pretty chaotic life. I went to England, and I moved around, and there were a lot of things that I was interested in. I wrote poetry. I took photographs. I was a musician and all sorts of things. Nothing brilliant, but I did all these different things.
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Life is complicated, and art has the right to be complicated, too. I don't like films that simplify.
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I come from a magnetic field of Catholicism. I was baptised by my mother's family, who were all traditional Catholics. But my mother was the black sheep of the family - she ran away to the ballet at 17.
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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.
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My stupid ambition is to make a film that's not like any other - one that has its own kind of logic and hooks viewers without making them think too much. It's a film I'd love to see, one in which after 10 minutes the audience isn't able to predict the whole thing.
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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.
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I think - you know, the big trauma in my life, personally, was the fact that at 14, I was taken out of Poland unwittingly because my parents were divorced. Left the country - my mother left for England with her new husband. I wasn't even aware that she'd married him.
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I don't think women are that vastly different from men. I'm a bit of a woman myself. But I'm not a feminist filmmaker. I'm not making a feminist thesis to prove that women are important. I just happen to make films with strong characters that are women.
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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.
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I'm not emotionally excited by the power of cinema's tricks anymore.
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For me, each film, each script is like a little journey in itself, and I'm reinventing the wheel. It's like, 'How do I make this film?' That's part of the pleasure, and that's why I'm not a normal professional director.