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ENH Tit-Bits
17 Jul 10
Daniel Szczechura about the work on A Good Night Story

“I have liked Stasys’s painting for quite a long time; they have always had this “narrative” vividness. I wanted to work with him but Stasys refused, afraid that I would destroy this vividness in a film. And I think he was partly right. Despite all that, he was still curious as to how his drawings would look in a film. This tipped the balance. One day I went to his workshop and borrowed some of his books and drawings. When I finished working on them, I came back to him, because I wanted him to help me to work on the transitions, etc. He told me instead: “Leave me alone, I am going to Japan and I have no time; and anyway, you want me to draw on to something I did twenty years ago and I cannot draw like that anymore” and the production had already started. Luckily, I had a painter friend, a good copyist and we started to copy Stasys’s drawings. So, in reality, Stasys did not help much in the production process, he made a drawing or two which I think I did not include in the film in the end. I was left alone with the material. My budget was dwindling each day, nobody could partially fund the film, and inflation was rising; I had to throw away a lot of things I came up with and I had to improvise.”

Interview with Daniel Szczechura at stopklatka

10th ENH: exhibition Before the Good Night Story by Stasys Eidrigevicius



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A retrospective of Brothers Quay, the authors of such films as The Institute Benjamenta and The Piano Tuner of Earthquakes, will be presented at the 10th IFF ENH.

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