Kieslowski

Started by SubstanceD, February 18, 2003, 01:44:16 PM

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wilder


wilder

Someone attended a Q&A with Kieslowski's DP Slawomir Idziak over the weekend and asked him a few questions about his process. Thread on the cinematography.com forums here.


Quote from: Sebastien Scandiuzzi
Hi Everyone, 

Slawomir Idziak, one of my favorite DP's, is going to be in Seattle for the Polish Film Festival and I'm excited to be moderating his master class, 1PM Oct 15th at SIFF. I'm also lucky to introduce screenings of The Double Life of Veronique (Oct 14th, 8PM) and Gattaca (Oct 16th 5:50PM).

What would you like to ask him? Any particular scenes or techniques you'd like him to breakdown?

I obviously have my own: his use of filters; his work with Kieslowski, Zanussi, Wajda; working in Russian controlled Poland and after the 89 revolution and a few more. I'd love to hear from others I'm sure there are some great questions I haven't considered.

Quote from: David Mullen ASC
I'd love to hear how he got the wash of blue light that momentarily covers the frame in "Blue" when she hears music in her head - particularly when she is sitting in a chair at the hospital. And that shot of the doctor reflected in her eyeball...


Quote from: Sebastien Scandiuzzi
Wow. I definitely wasn't expecting to hear his solution to the scene in 'Blue' (the blue wash over Binoche)! I asked if he simply panned a gelled light to the right of camera but he said it wasn't getting the result he wanted so he decided to wrap the camera in blue gel and then open the back to flash the film!!! Amazing. Flashing isn't anything new but I've never heard of DP's wrapping the camera in gel. I suspect you knew it wasn't a gelled light...

He said the shot of the Dr reflected in the eyes of Binoche was a 200MM macro and the Dr was lit with a black wrapped 5K. He talked about his extensive collection (over 1000) found, bought and custom filters. He usually brings 500-600 with him in sets of 30 labeled alphabetically with a fliter 'map' for the AC so he can say "get me filter B 15" for his blue custom grad filter. Incidentally, he has a custom matte box with 6 slots so he can layer multiple filters and adjust them on all axis'. I asked if then filmed with a faster film stock because of the multiple filters but he said no, just the normal Eastmancolor but he said he couldn't remember the type of film. 

I also wanted to know how he got the blurred effect in Double Life of Veronique (when Weronika dies and they cut to Veronique making love). He used a magnifying glass in front of the lens while holding the camera! Again, it's not an original technique but to do both at the same time was quite impressive. I was interesting to hear how much Kieslowski was against a lot of Idziak's ideas for Double; the cyan/yellow color filters, the lens effects and said he was constantly at odds with Kieslowski for each of their features together. Interesting not because of the disagreements but because of how strong willed and confident he had to be, which was a good reminder.

All in all it was a great night, very informative, relaxed and fun. I'll see if I can find out who filmed the discussion to post.

jenkins

i've been stuck on episode 5 on Dekalog for two weeks now, because of its opening--

"The law should not imitate nature, the law should improve nature. People invented the law to govern their relationships. The law determined who we are and how we live. We either observe it, or break it. People are free; their freedom is limited only by the freedom of others. Punishment means revenge, in particular when it aims to harm, but it does not prevent crime. For whom does the law avenge? The innocent? Do the innocent make the rules?"

instead of finishing the episode i keep returning to the beginning and listening to this.

wilder

April 20, 2020

Cinema of Conflict: Four Films by Krzysztof Kieślowski on blu-ray from Arrow UK





Few names are as synonymous with Polish cinema as that of Krzysztof Kieślowski, the renowned auteur responsible for the Dekalog and Three Colours trilogy. Prior to the fall of the Berlin Wall and his subsequent creative and critical success in France, Kieślowski plied his trade within the confines of the Eastern Bloc, capturing the realities of everyday life under Soviet rule. This collection gathers his four earliest narrative feature films, encapsulating the years 1976–1984.

In 1976's The Scar, a well-intentioned Party loyalist is charged with overseeing the construction of a new chemical plant in the face of fierce resistance and is forced to confront the conflict between his good intentions and local opposition.

In 1979's Camera Buff, a family man and amateur filmmaker experiences a dramatic change in fortunes when his newfound hobby opens up new horizons but also results in deep marital and philosophical conflicts.

Blind Chance, completed in 1981 and denied a release in its native Poland until 1987, presents three possible outcomes to a single, seemingly banal event – a young medical student running to catch a train – and, in the process, explores the relationship between chance and choice.

Finally, in 1984's No End, a recently bereaved translator juggles the conflicting demands of her work, caring for her son and her continued visions of her late husband, all against the backdrop of a Poland under the grip of martial law.

As socially conscious as Kieślowski's earlier documentary shorts, this quartet of films covers a tumultuous period in Polish and Eastern European history, shot with unflinching realism by a filmmaker of distinction.


jenkins

i'm not sure what Kieslowski's reputation would be like from just that beginning section. that's right up to Dekalog, and i mean everything changes at Dekalog. which is your favorite of the Three Colors is a sacred movie question, and any moment is a good moment for one to mention liking The Double Life of Véronique