"GET ON UP" PRESS CONFERENCE

The film was introduced by legendary cinematographer Stephen Goldblatt. Goldblatt made a mention that some of the American wilderness where the film was shot resembled some Polish villages.

Stephen Goldblatt, photo by Paulina Niwińska-Basińska

The following press conference was led by Zbigniew Banas, with Goldblatt being the sole representative for the film. Goldblatt stated that they reviewed hours of footage and recordings of James Brown to get the best image possible of the man himself. He noted that the difficulty lay in the lack of quality of the very out-dated footage. He made it very clear that film is not a documentary, but rather is inspired by Brown's life. He stated that this is his first film made using a digital camera, but that the adjustment was not exceptionally difficult due to the fact that he has used digital equipment along with 35mm film before. He spoke about his career saying, "I started as a photographer in the 1960s, and then began working on films." He said he has become fluent in the use of both 35mm and digital film, and that he has seen the rise of digital to far surpass anything 35mm film can do. The last film was made without any digital effects at all was in 2007.

The audience's questioning then commenced. The first questions centered around the use of so many African-American actors, and how this effects lighting, etc. His answer was there were a lot of advantages to working with Alexa equipment, especially with the use of shadows and details. He mentioned that working with digital equipment greatly lessens the stress on the cinematographer, because there is less worry about the development of the prints, and not having constantly check on their condition. He was asked if he uses any light meters or similar equipment on set, and he answered that he never does, and prefers to judge with his own eye. He also specified that a digital camera captures things differently than we see them. He was asked if they used many cameras through out the film, and he said they mostly stuck to using just one camera whenever possible, however during the concert scenes, 6-7 cameras were sometimes required.

Still from "Get on Up"

Finally he was asked about the relationship between a mostly white crew writing a story about a black man, and a film that is possibly aimed towards a black audience, and how they were able to adapt the film based on this. He answered that this was mostly irrelevant, because the story itself is fantastic, and endearing to both black and white people. Mick Jagger was a producer for the film, and is a huge fan of the legendary singer, obviously also being a white man. Goldblatt was previously awarded a Lifetime Achievement Award at Camerimage in 2007.

-Neil Potter

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"FIELD OF DOGS - ONIRICA" PRESS CONFERENCE

The screening of Field of dogs – Onirica, closed the Monday series of Main Competition, during this year's Camerimage Festival. After the film, the audience and journalists had an opportunity to ask questions to the creators of the film. The film-makers: director and co-cinematographer Lech Majewski and cinematographer Paweł Tybora, sat behind the conference table together with the host – Zbigniew Banaś.

Mr. Banaś asked the first question concerning the sharing of the workload during the shooting of Field of dogs – Onirica. Mr Tybora said that while Mr Majewski is also a director, I was mainly responisble for technical issues. Primarily I had to deal with the lighting and arrangement of sets, in which we shot the film. Frequently it happened that we shot in places, where my job was quite hindered, by this I mean places like abandoned buildings, squats etc. Mr Majewski confessed that he and Mr Tybora co-operated in the previous film (The Mill and the Cross), however, the cinematographer's work was limited to dealing mainly with special effects. As Mr Tybora dreamed about being D.P. they've both decided that it'd be a great opportunity for them to share this responsibility during shooting Onirica.

Paweł Tybora and Lech Majewski, photo by Szymon Milner

The audience expressed a special interest in fantasy, surreal scenes from the film, such as oxen ploughing a supermarket's floor, or the cascade of water pouring into the inside of a cathedral. The film-makers were asked mainly about the technique and the pre-production process. The director explained that these scenes are above all, the result of his visions. When it comes to the shooting itself, the film-makers had to deal with two major obstacles. First of them was connected to the scene involving oxen. As it appeared there was hardy no supermarket that would allow for letting these huge animals into the building. Eventually, it was thanks to Mr Majewski's exhibition in London, that persuaded the supermarket owner to let him fulfill his visions. The second difficult thing was to bring the animals to the set. The only oxen that could have been available, were located as far as in China. Thus, it was impossible to transport these animals. Fortunately, they managed to find the oxen reservation at Polish-German border, where the D.P. could film them. However, the effect of ploughing the floor was added in post-production using a blue screen.

The director was also asked about the motif of Dante's Divine Comedy embroiled into scenes referring to Smoleńsk catastrophe in 2010. Mr Majewski said that the best interpretation of his film was proposed by one of Italian journalists, who analyzed Field of Dogs – Onirica: Dante, in his poem, was able to combine the divine sphere with the public one. Thus, the year 2010 is of a biblical proportion to him (Mr Majewski). Smoleńsk catastrophe divided Poland into two separate spheres. Dante, in order to tell about his Florence used Vergil – a guide from the past. Therefore, I used Dante as my guide, who may lead me through the trauma of the present.

Still from "Field of Dogs - Onirica"

Is there a film genre that can be described as philosophical film? - the question from the audience cropped up. Mr Majewski confessed that nowadays there is a serious shortage of this kind of cinema. Not everything has to boil down to irony. Every movie, even a simple or stupid one, consists some kind of ethical issue. I feel there is a lack of lofty conversation among artists, thus I seek for this kind of dialogue in my movies. In most cases however, at least in Poland, it results in some people leaving the cinema. Well, maybe this is the price I need to pay for trying to communicate something more profound?

Mr Majewski emphasized that the way he is working on his movies is very intuitive. It happens very often that in my films appear animals. I've noticed that they represent higher form of truth, moreover, they impose the truth on actors. That's why I use the animal's magic not only in films, but also in theater. Thus, they also appear in Field of dogs – Onirica, a movie that seems to be a blueprint for searching stylistic figures typical for the director Mr Majewski.

Monika Jaworska

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MEETING AFTER "A MATTER OF LIFE AND DEATH" SCREENING

The screening of the film A Matter of Life and Death was presented to the audience within Powell & Pressburger Retrospective. The film had its premiere in 1946, but on 18.11 people gathered in Multikino at Camerimage Festival had a chance to ask questions to Mrs Thelma Schoonmaker, a former wife of gone Mr Powell. Before the film has actually started, she gave a very short speech concerning the colouring used in the picture. When the film finished, the audience was invited to stay for the conference with Mrs Schoonmaker.

Mrs Thelma Schoonmaker is an artists who does not need introduction but undeniably merits one. She is a winner of the most prestigious film prize – Academy Award in film editing. She is also a long-term co-operator with Martin Scorsese; they both worked with such productions as Raging Bull, Good Fellas or more contemporary Wolf of Wall Street.

Thelma Schoonmaker, photo by Wiola Łabędź

 The meeting started with question of artistic freedom and whether film-makers had more of it in the past. Mrs Schoonmaker said that, while cooperating with Scorsese he admitted that he feels jealous of this freedom that Powell & Pressburger had. Nowadays, making movies resembles a battlefield. There is a constant struggle to shoot a film, struggle to keep it away from destruction from the outside. Even during the time right after the Second World War, when the two directors to whom the retrospective is dedicated, were shooting their films, they had the luxury to express what they wanted to.

A Matter of Life and Death emerged from war propaganda but the film-makers managed to create beautiful masterpiece. The cinematographer Mr Jack Cardiff had done something extraordinary, which would have been impossible lest the appearance of technicolor. He dissolved black & white (the scenes of Heaven) with colour (the scenes of life on Earth). As Mrs Schoonmaker said, Mr Cardiff was feeling the light; and he had different approach to film making as he studied the paintings of great artists. Thus, it resulted in vivid, full of energy images that complemented the amazing story.

Asked about the process of editing, Mrs Schoonmaker admitted that her husband thought as an editor. Hence those incredible transitions we can see in the film. Furthermore, he was convinced that audience is one step ahead of a film-maker. And also, that the editing process should be simple. For example the accident scene was made up of nothing; only a few shoots of shadow were used, but still it was very effective. Unlike modern Hollywood movies, they had very low budget so they had to make use of whatever they had.

As the film A Matter of Life and Death had its premiere over fifty years ago, Mrs Schoonmaker was glad to say that young generation love this movie. Indeed, this is love story which carries universal values, that will never become outdated. Mr. Michael Powell himself was a great eulogists of the concept of the human nature of the art of film. Given that the plot of the film revolves around (more or less) British-American relationship, Mr Powell believed that there should not be any particular film industry. There should be one world's film industry, that would include all productions from all over the world. Be that as it may, according to Mrs Schoonmaker, her gone husband attached great importance to the fact that films should be made explicitly for human beings.

Still from "A Matter of Life and Death"

Another important issue, that audience found very intriguing, was the editor's collaboration with director Mr Martin Scorsese. Mrs Schoonmaker said that Mr Scorsese is very aware of what's happening in the cinema all over the world and he pays attention to every aspect of the film as such. The question arose as to whether Mr Scorsese was influenced by Powell & Pressburger films, to what Mrs Schoonmaker responded with dignified laughter. As she explained Mr Scorsese was immensely inspired by their movies, in a way that he would take something from their artistic output and converted it into his own film language.

The meeting ended with reflection about the personal sphere of Powell & Pressburger films. Mrs Schoonmaker confessed that her gone husband was very much into nature. He also was in love with Scotland and he would go there with his friends in order to walk into the mountains. It all reflected the passionate approach to making films, as much as he incorporated humour done in a loving, not moralistic way.

Mrs Thelma Schoonmaker answered all questions with witticism and class. Despite her collaboration with the most prominent figures of the world of films, she maintains humbleness and creates the atmosphere of intimacy between her and the audience. She shared her experience as well as her personal thought concerning the works of Powell & Pressburger, which made the meeting with her a passionate journey into the past.

Monika Jaworska

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"LEVIATHAN" PRESS CONFERENCE

Main Competition entrant Leviathan was introduced by Russian cinematographer Mikhail Krichman. Cinematographer was present prior to the film's screening, and mentioned his joy to present the film in its original form, (he answered what this means in the following press conference.)

The press conference was led by Zbigniew Banas. Krichman has appeared at the Camerimage Festival several times before. He was first asked about his comment prior to the film's screening. He answered that a Russian law was passed prohibiting the use of curse words in all film and television, they were forced to mute any curse language in the film. He was pleased that the film could be shown here without this restriction, because the language has an effect on the film and helps deliver meaning. He included that this isn't a political film, and is more about the nature of human beings. When asked about the nature of his relations with the director, Krichman described how they picked up the idea for the story while working together in New York City in 2007.

Mikhail Krichman, photo by Natalia Mentkowska

Krichman was asked then about a debate that rages every year during Camerimage about digital vs 35mm film. Cinematographer filmed Leviathan on 35mm, and seems to be an avid supporter of this technique though most cinematographers have moved to digital. Krichman stated that he had to do a test to convince the producers to all him to do the film in 35mm, and that the film could have been done just as well in digital. He said also that it is difficult to work with film today because it is a dying form, but that he is always happy to do it.

Audience questioning then commenced, and immediately Krichman was asked more about the ban that stopped them from allowing curse words in Russia. The questioner described the film as seeming "anti-Russian." Krichman first clarified that no scenes were cut from the film, only words muted. He said the director would need to be consulted more regarding this subject. According to Krichman the release date of the film has been delayed to February, 2015 for various reasons, but he is very hopeful the film can be screened in Russia.

Still from "Leviathan"

More questions were directed at the location used for filming. Krichman answered the site was a very remote ex-military base in Northern Russia, where a small village exists. Because of the latitude, cinematographer described that, "We had two magic hours." Referring to the times when natural lighting was optimal; there being only three hours of night. He also answered later that the filming took 66 days. He was asked about the equipment he used to which he answered a "Master Primes" lens, and 400 tungsten 200 daylight Kodak film. He said one reason it is so difficult to shoot in film anymore is there are very few good developing companies left.

Three specific scenes were inquired about. The first was the scene with the whale, and it was asked whether or not the mammal was real. Krichman said the whale was CGI, "There are whales there, but they don't come that close. It would have added 2 months onto the shooting time to find a real whale." He also was asked about the whale's skeleton, to which he answered that the skeleton was plaster, and they had problems with the tide coming in to wash it away every six hours because it was light in weight. "We had to weigh it down with sand bags to keep it from washing away." He said. Lastly the bus scene, and how they pulled it off. Krichman said it took 4 takes to get it right, and it was made difficult by how bumpy it was on the bus. Krichman's demeanor through out the conference was very reserved and polite. He seemed to care very much for his answers, given them an almost careful feeling. Krichman graciously stayed after the conference had officially ended to answer further questions about the film.

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"NUDE AREA" PRESS CONFERENCE

Polish Films Competition entrant Nude Area was represented by cinematographer Piotr Sobocinski Jr., and director Urszula Antoniak. Both appeared to introduce the film prior to the screening, and attended a press conference afterwards. Sobocinski also worked on another film featured at Camerimage 2014: Gods.

Urszula Antoniak, photo by Natalia Mentkowska

The conference was directed and translated by Zbigniew Banaś, who opened the questioning by asking the director and cinematographer how it was to make a film with no dialogue. Antoniak answered first that in a film of this style, a new world is almost created, and this offers an "unspoken agreement" to the audience that they will either accept or reject based on what they are looking for. At two previous screenings of the film she had asked the audience if they missed the dialogue, and most answered "No." She also stated that along with the style of the film, working with two unprofessional actors in the girls helped created an unexpected sense of realism."For these girls, there is no concept of acting, everything is authentic." Sobocinski then answered by giving an inside secret. When they met to begin work on the film, there was no plan of having no dialogue at all, and when they actually filmed the scenes, there was dialogue in many of them in order to give the girls a better sense of realism. All these scenes were then edited to remove all dialogue. He also stated that this film brought him back to his student years, when most student films do not have actors reciting lines, and the story must be told almost completely through the images. He described this film as "a great responsibility, but also a great adventure and joy."

Banas highlighted that Nude Area is told in chapters, and one of these chapters is titled limits. This is very ironic because that idea could be applied to the entire film said Banas. This comment directed the majority of the questioning and answering for the rest of the conference. Questions were asked regarding the limitations of working with two 15 year old girls, one of whom is Muslim, in a film that centers very strongly on the idea of sex, and passion. Antoniak offered in answer that yes, agreements had to be made with the girl's parents as to what things they could portray, and how far they could go. In the case of the Muslim girl, it actually wasn't as difficult as one may assume. Antoniak described that in Muslim culture, a woman's hair is considered the most sensual part of her, so depicting acts of a sexual nature is not far beyond the simple revealing of the girl's hair. Sobocinski also mentioned the time pressure they were under. They only had 20 shooting days, and he was very impressed with how committed the girl's were to making the most of the time. He said, "Had we another 5 days, who knows what might have happened."

Still from "Nude Area"

In a great shift from the standard format of the festival's Q&A sessions, Antoniak and Sobocinski took on the role of questioners, and asked the audience their opinions on the style of the film, whether the meanings were still clear despite the lack of dialogue, and were they bored? Several answers were given, with the overall opinion being, "No." Some additional comments included the audience being "pre-programmed" to expect dialogue, and the absence of it being something that must be gotten used to, but not something that destroys a good film.

-Neil Potter