Pawel Pawlikowski Quotes
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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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With documentaries, what's beautiful about them is that you capture something unique in a shot, something that will never repeat itself.
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In America, I don't think you have the creative freedom that I'm used to. Traditionally, it's a producer's cinema here.
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I could never work in that kind of commercial environment where the stars have a lot to say, where the producers kind of push you around and tell you who to cast and who not to cast. I'm just not interested in that at all.
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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.
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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.
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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.
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The luxury that I have is I'm not career-minded, I just live from one film to the next. For a time, I was making documentaries, and all my documentaries were winning awards and stuff, and then I lost interest in documentaries.
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I love films that are many things at the same time while being simple.
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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.
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I'm a pretty chaotic person, but I'm also a perfectionist. It's a very unfortunate mix.
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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.
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I'm more interested in people the way they are than what they've done onscreen before. So I don't worry much about the acting skills or the name, the status. I just think, 'Do I believe this person? Do I like them? Are they interesting, complicated, have the right aura, energy?'
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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.
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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.
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I don't know what directing actors is all about apart from just casting well and then shaping their performances a bit, you know.
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My father's mother was a secular Jew who died in Auschwitz. I only found out as an adult because my father never talked about it. He was a secularist and never defined himself in ethnic terms - partly, I think, because he was scared; partly out of the habit of not talking of such things; partly because he didn't like being defined by other people.
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The problem with shooting in Paris is, it's been shot to death. When you're in it, you already think you're in a movie, so how do you get away from that feeling, and give some frisson to the viewer?
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The whole world, it's a problem that there's too much stuff being produced. We don't have time to reflect on the important things in life.
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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.
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'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.
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'The Restraint of Beasts' is a painful subject. We'd shot 60% of the film when I had to stop. The material looks great, like nothing I've ever done or even seen before. It could have been really great, definitely original.
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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.
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For me, filmmaking is not exactly a career. I was never in it for Hollywood or anything. My films are markers of where I am in life, where I am in my head. So that's what I'm working on, and I try to keep things in proportion - life and filmmaking. One feeds into the other.