Previously the same Polish audiences would have been pressured into seeing cinema made for adults, films made by us about those spheres of life that were significant for us and which should be significant for our society.
The challenge to me as a director was for the audience to see the film as going on in a straight line, so that they did not sense all of these break-ups. I did not want a film to be a collage of all these images.
On the one hand, young theatre directors were coming to television theatre, because they wanted to get closer to the cinema, despite having studied and worked for the theatre.
Each new film is like a trial. Before I step in front of the camera, I do not know whether I am going to fall or whether I am going to fly - and that is exactly the way I want it to stay.
I think cinema, movies, and magic have always been closely associated. The very earliest people who made film were magicians.
I'd wanted to be a writer and when I came back to New York worked as a musician too, but I found my writing starting to get more and more referential to cinema.
I want my audience to know me for my work, not because of who I'm dating or what drugs I'm on or what club I went to.
Since we didn't use guns, we wanted to make sure we could earn the ability to win the audience over by making it believable. A lot of what you do when you work out in that mode is use your mental energy.
Perhaps it sounds ridiculous, but the best thing that young filmmakers should do is to get hold of a camera and some film and make a movie of any kind at all.
I want the public to know that it will be an honor for me to meet them and spend a few special moments with all those who helped me through my filmed career.
I got a role in this movie called Freeway playing this really angry, aggressive, violent young woman who believed wholeheartedly in the truth. I had such satisfaction afterward, and I thought, That's what I want to do.
One of the reasons I loved working with Tom is people feel they know who he is... I think working with an actor who the audience already has a relationship with actually helps you in a film like this.
There are certainly laws and elements that make a film more accessible to mainstream audiences. If you've got Tom Cruise as a strongman, I'm sure it would have larger audiences, but it wouldn't have the same substance.
In fact, it is amazing how much European films - Italian, French, German and English - have recovered a certain territory of the audience in their countries over the last few years.
With this silent film, I wanted to hide what was going on in the clinic. I wanted to cover it up in the best cinematic way and in an entertaining manner.
The truth is often terrifying, which I think is one of the motifs of Larry and Andrew's cinema. The cost of knowledge is an important theme. In the second and third films, they explore the consequences of Neo's choice to know the truth. It's a beautiful, beautiful story.
Yes, he wanted me to do Funny Games before, which I didn't want to do because the film was very theoretical - the way people experience violence on screen. There was very little space for fiction, it was more like a sacrifice for the actors than anything else.
I made so many films which were more important, but the only one people ever want to talk about is that one with Bogart.
Suddenly, the screens were dominated by American entertainment to the extent of something like 95 percent. As a result, audiences turned away from the kinds of films that we used to make.
The film that made the greatest impression was "La roue" by Abel Gance. It made me think cinema was wonderful.
The whole aspect of cinema and film festivals should be a moment to come together and celebrate art and humanity. It would be a shame if there was such a divide.
I'm in the process of working out an arrangement to make some very, very, very small films in the midst of all these films and maybe that will help. But you get tired of talking. You just want to do it.
I'm proud of all the movies I've made. They're not sequels, they're not franchises. And the reason I pick my films carefully is that I don't want to spit on my life. I like to think of myself as more than that.
The audience will have to focus on the visuals... But they had silent films before talkies arrived, and people went to see them.
Directing, I realize, on film is far more personal, you know. Cinema really is a director's medium. This is a very personal film.