Filmmaking is incredible introspective. It forces you to sort of examine yourself in new ways.
I am much more involved in the filmmaking experience on Mag Seven. I'm much more involved in story elements, casting decisions, the writing of the show, the blocking of the scenes.
Saturday Night Live is such a comedy boot camp in a way, because you get to work with so many different people who come in to host the show and you get thrown into so many situations and learn how to think on your feet, so filmmaking actually feels slow, in a good way.
However, that old mode of Polish filmmaking virtually disappeared.
There's such good people out there where there filmmaking world is alive.
Documentaries have always inspired me in narrative filmmaking.
When I got to filmmaking, the most democratic of environments where anybody could say anything, those were the best environments, but what you don't want to assume is that you know what the audience is thinking.
A novelty in Polish filmmaking was that it was possible to find funds for a big production. However, at the same time, the state budget committed less and less money to filmmaking.
I never had any special appetite for filmmaking, but you have to make a living and it is miraculous to earn a living working in film.
The difficulty with the present state of affairs is that there is no legislation on the sources of funding for the Polish film industry. There is no legislation concerning filmmaking. And, there is no legislation on television that would be beneficial to filmmaking.
In Europe, there is no television filmmaking legislation that could assist film production because private broadcasters are not interested in supporting Polish film.
The filmmaking process is a very personal one to me, I mean it really is a personal kind of communication. It's not as though its a study of fear or any of that stuff.
Filmmaking, at the end of the day, is a business and a balance must be struck between that and emotional ties.
Filmmaking isn’t if you can just strap on a camera onto an actor, and steadicam, and point it at their face, and follow them through the movie, that is not what moviemaking is, that is not what it’s about. It’s not just about getting a performance. It’s also about the psychology of the cinematic moment, and the psychology of the presentation of that, of that window.
Never try to convey your idea to the audience - it is a thankless and senseless task. Show them life, and they'll find within themselves the means to assess and appreciate it.
Eventually, this is how I would like to be remembered at the end of my career: He was never the best in anything he did - comedy, acting, filmmaking, writing, etc. But nobody was better at doing different things at the same time than he was.
Pain is temporary, film is forever.
Nobody will ever notice that. Filmmaking is not about the tiny details. It's about the big picture.
A film is - or should be - more like music than like fiction. It should be a progression of moods and feelings. The theme, what's behind the emotion, the meaning, all that comes later.
Howard Hughes was this visionary who was obsessed with speed and flying like a god... I loved his idea of what filmmaking was.
People have forgotten how to tell a story.
My movie is born first in my head, dies on paper; is resuscitated by the living persons and real objects I use, which are killed on film but, placed in a certain order and projected on to a screen, come to life again like flowers in water.
Filmmaking in general is about feeling and not about theory. You need to know a lot of rules about filmmaking: character development, grammar, and all these thing, but then you use it instinctively. I ask myself this question all the time. I have no solid theory, I just do what I feel is right.
There's a level of sophistication of filmmaking that's mind-boggling. Anything you need for your movie, there's an establishment that can make it happen really fast.
I think you can maintain two tracks. I think you have to. That's what this kind of filmmaking is about. If you're not aware of the limitations of what you're up against... it's like a general: you have to know your artillery and you have to know your infantry. You have to know what you have. You have to marshal your forces and use them well. It comes down to the personal and the intimate, but at the same time you have to have the big picture.
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