A
Minute With:
'Ida' director Pawlikowski
on Oscars, Poland
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[February 05, 2015]
By Eric Kelsey
WEST HOLLYWOOD, Calif.
(Reuters) - Pawel Pawlikowski, the director of Poland's
Oscar-nominated drama "Ida," said making the film about
a novice nun who discovers she is Jewish was in part an
exercise in bringing the memories of his own 1960s
childhood to the big screen.
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The stark black-and-white film swept the European Film Awards
in December and is one of the favorites to win the best
foreign-language picture at the Academy Awards later this month.
Pawlikowski, 57, who emigrated from Poland at age 14 before
settling in Britain in 1977, spoke to Reuters about why he did
not want to film in color, the movie's success and how it became
a political football in Poland.
Q: How personal an undertaking was "Ida"?
A: A compulsion to do it was to make a film in Poland in
the early '60s, which is a time I vaguely but very intensely
remember. That was my childhood.
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Q: So why choose to make 'Ida' in black and white?
A: There's the obvious reason that I remember that period
in black and white, and because films at that time were black
and white ... But more importantly is that I wanted to make it
an abstract film. If you do something in black and white,
especially if you use that well, you raise everything to a
slightly more abstract and universal level.
Q: Why do you believe the movie has been well-received?
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A: What seemed to have worked is precisely that the film
doesn't try to explain things but actually draws the audience in at
a very basic psychological and emotional level, and makes them feel
as if they're watching something timeless.
Q: But the film has upset Polish nationalists who have
criticized its portrayal of Poles during World War Two.
A: It's just a self-serving political movement that uses the
success of "Ida" to further their own causes. In Poland, elections
are approaching, and the right is a bit impatient and frustrated,
and so anything to create a bit of heat is good for them.
Q: For a foreign film, it also surprisingly earned an Oscar
nomination for cinematography.
A: I'm really happy because we went out on a limb with the
photography, and it was such an eccentric framing. A lot of
old-fashioned cinematographers didn't like the framing. They thought
it was too eccentric, too weird and not correct. I'm happy enough
people liked it.
(Editing by Mary Milliken and Matthew Lewis)
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