They come from completely different backgrounds yet ultimately are quite alike: both lonely, both trying to escape from something. It's interesting, because Łukasz Ronduda’s new project, Luigi, won’t be about an artist this time: it’s about an Italian gangster who escapes to Poland and takes refuge in a centre for immigrants run by a charismatic nun. It worked especially well in Fears, I think, because we showed someone who actually works with people. We want to make films which, although not exactly commercial, are accessible to the general public and understandable to those who don’t know these artists.
It was about taking this ephemeral performance art outside of a gallery and showing it to the world. The Performer was closer to the field of contemporary art, with Oskar Dawicki playing himself. When you look at these films, you can also notice a certain evolution. But yours ended up enjoying successful festival runs and Fears was named best film at the Polish Film Festival in Gdynia. I’ve heard opinions that certain films, especially on the experimental side, “belong in a museum,” not cinema. You need to listen to your own intuition. This magical thinking that “this time it will be different” never works out. If there are any doubts at the start, later on they only get bigger. He also said that the decision to commit to a project has to do with whether he wants to spend time with those involved. I am at Mastercard Off Camera Festival at the moment and I was listening to David Parfitt, the British producer behind The Father or Shakespeare in Love. We just needed some fresh air, I guess.Ĭhoosing the right people for projects is an essential part of my work.
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In the end, we managed to talk about it, clarify certain things and start a new chapter in our professional relationship.
But when we were working on our third film, the biggest one yet, we had a moment of crisis. Is it easier to work with the same people? You kept collaborating with Łukasz Ronduda after that film. But being able to see it up close, being a part of it, can be fascinating. It’s a long process – there will be good and bad moments. Being a producer, and I say this often, means being a psychologist or even a psychoanalyst for everyone involved sometimes. Working with two directors was another lesson. I wasn’t directly involved with it before, even though my brother is also an artist. I became friends with Oskar Dawicki and I learned more about the art world.
With The Performer, I still remember the whole process quite fondly. Early on, already during development, you should be able to answer this question: “Are we making the same film?” But it taught me a valuable lesson, especially when it comes to working with directors and writers. It was a bit of a professional trauma – it was my first encounter with the world of distribution and promotion, and when box-office results turned out to be unsatisfactory, as well as reviews, it made me wonder whether I should even continue. Kuba Kosma: Before that, I was involved in a film called Dżej Dżej. Cineuropa: Right from the start, you have been interested in riskier films – such as The Performer, which premiered in 2015.
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