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Chronicle of Amorous Accidents
Andrzej Wajda Film-maker
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However, I couldn't just be in Poland doing nothing so I thought about how I could make a film, and gradually the kind of cinematography that was allowed to exist then began to be rebuilt. According to my advice, the unfinished films had been completed and shelved to the accompaniment of various threats on this matter, and I came to the conclusion... I stopped being chairman of Zespół Filmowy X because it was dissolved by the ministry and by the police. The whole group disbanded. So then I thought about making a nostalgic film based on Konwicki's story 'Chronicle of Amorous Accidents'. This film... I tried to create a pre-war world, but again I was out of luck because there were no young actors at that time, they only came along later, and the couple in the film didn't live up to my expectations - perhaps not so much the girl as the boy. I think everything that was possible. Edward Kosiński took some beautiful shots and we tried to create Konwicki's world. Everything takes place in Wilno, but I couldn't go to Wilno because the political authorities said on no account. I can create Wilno for myself if I want, but here in Poland. So we found several places in Przemyśl and elsewhere where we could make an invented, created atmosphere which this film definitely has but it lacked something, too. Certain images began to appear which looked as if I was repeating myself from my earlier films. I haven't seen that film for a long time now but I have a certain, not even certain but a definite sense of dissatisfaction about this film and how far it could have fulfilled my expectations.

W Polsce też nie mogłem siedzieć i nic nie robić, tylko myślałem o tym, jakby zrobić jakiś film i powoli zaczęła się kinematografia taka, jaka mogła wtedy istnieć, odbudowywać. Pokończono te filmy zgodnie z moją radą i położono wszystkie na półkę z rur przy akompaniamencie różnych pogróżek na ten temat. No i ja doszedłem do wniosku, że może byłoby... przestałem prowadzić Zespół Filmowy X, bo on został urzędowo, że tak powiem, i policyjnie rozwiązany. Cała ta grupa się rozeszła. No i wtedy pomyślałem, że może by zrobić nostalgiczny taki film według opowiadania Konwickiego Kronika wypadków miłosnych. Ten film... próbowałem jakby stworzyć taki świat przedwojenny.

Tu znowu nie dopisało mi do końca szczęście ze względu na to, że nie było wtedy takich młodych aktorów, później oni się dopiero pojawili i ta para, może dziewczyna mniej, ale chłopiec też nie spełnił moich oczekiwań. Myślę, że wszystko, co było możliwe... Edward Kłosński zrobił piękne zdjęcia i staraliśmy się stworzyć ten świat Konwickiego. Wszystko się dzieje w Wilnie, no ale do Wilna nie mogłem pojechać, bo tutaj władze polityczne powiedziały, że w żadnym wypadku. Mogę sobie robić Wilno jeżeli chcę, ale w Polsce. Więc znaleźliśmy takie różne miejsca w Przemyślu, w innych, żeby stworzyć jakąś taką wymyśloną, wykreowaną atmosferę, która na pewno ten film ma, ale... ale też mu czegoś zabrakło. Pojawiły się takie obrazy trochę jakby... jak gdybym zaczął powtarzać sam siebie z dawnych filmów. I nie wiem. Dawno tego filmu nie widziałem, ale taki mam pewien, nawet nie pewien, ale zdecydowany niedosyt, co do tego na ile... na ile ten film mógł, że tak powiem, wypełnić moje oczekiwania.

Polish film director Andrzej Wajda (1926-2016) was a towering presence in Polish cinema for six decades. His films, showing the horror of the German occupation of Poland, won awards at Cannes and established his reputation as both story-teller and commentator on Poland's turbulent history. As well as his impressive career in TV and film, he also served on the national Senate from 1989-91.

Listeners: Jacek Petrycki

Cinematographer Jacek Petrycki was born in Poznań, Poland in 1948. He has worked extensively in Poland and throughout the world. His credits include, for Agniezka Holland, Provincial Actors (1979), Europe, Europe (1990), Shot in the Heart (2001) and Julie Walking Home (2002), for Krysztof Kieslowski numerous short films including Camera Buff (1980) and No End (1985). Other credits include Journey to the Sun (1998), directed by Jesim Ustaoglu, which won the Golden Camera 300 award at the International Film Camera Festival, Shooters (2000) and The Valley (1999), both directed by Dan Reed, Unforgiving (1993) and Betrayed (1995) by Clive Gordon both of which won the BAFTA for best factual photography. Jacek Petrycki is also a teacher and a filmmaker.

Tags: Chronicle of Amorous Accidents, Poland, Zespół Filmowy X, Wilno, Przemyśl, Tadeusz Konwicki, Edward Kosiński

Duration: 2 minutes, 32 seconds

Date story recorded: August 2003

Date story went live: 24 January 2008