At the same time I like contact with matter. Usually, a few months before making a film I leave myself open to inspirations which might further a particular idea and translate it into the visual. You could say that I cover up my poor workmanship with being intellectual (laugh). My language is a natural consequence of the fact that I have neither the artistic background nor the efficiency in using tools. In your documentary Henryk Tomaszewski said that he used a 2B pencil most often. When I set out to make a new film I bear two things in mind – it should be watchable, and simply not silly. But a few other things are out of date because the style of storytelling, the context and the techniques are different now.ĭaniel Szczechura, photo from the artist's I like some elements enough to say I wouldn’t like to change them, for instance the arrangement of stills in the acted sequences of Conflicts – I’ll put my name to that any day. I thought, “Did I really think it all up?” I tend to have an overall impression of my films but the details escape my memory. However, when working on A Hobby two kinds of things crossed my mind. I tend not to stay for the screenings of my own films as I feel no need to see them over and over again. Adriana Prodeus: How do you see your films from a time perspective?ĭaniel Szczechura: I must admit that I’m not particularly anxious to watch them.
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