All language subtitles for Cinematographer Slawomir Idziak_track3_[eng]-eng

I had complete freedom.

My suggestion
for how to make this film

was really an attempt
to get out of it.

I didn't want to make it,
for various reasons.

To get out of it elegantly,

I suggested
a very revolutionary approach

to making the film

that I wasn't even sure about.

It involved
making heavy use of filters

and a very dominant green hue.

The general idea was to make
the film very schematically...

emphasizing what I called back then
"the poetics of dirt"...

to stress...

the unclean reality around us.

I went quite far
in that direction,

and honestly,
after seeing the first rushes,

we weren't sure it worked at all
or made any sense.

But after the first two
scenes were edited,

I realized...

that when it was
edited together...

it didn't repel the viewer

the way the first rushes did,

and so we went on.

In that sense
I had complete freedom,

and the idea I proposed
was accepted.

Then there was
no turning back,

because it was so dramatically
stylized in a specific direction

that any attempt
to find a way out was hopeless,

and we just had to do it.

But as I said,

the first edited scenes
showed it was working.

Our tools are very simple:

camera movements,

intensity of light
on the screen,

light, shadow,
contrast, and color.

Of course,
you can say that contrast...

is related to lighting

and space
and mise-en-scene.

You can come up
with a longer list.

Some are harder
to talk about than others.

Of course, with words
it's very easy to say...

"You used similar tools
as in the other film..."

to suggest a similarity.

But I actually think there's
a gulf between the two films.

In A Short Film About Killing,

the dramatized nature
of the image is very evident

from start to finish.

It handles the reality

in front of the camera
quite brutally.

The filters and colors
are glaringly evident from the start.

It's a reality entirely constructed
through the filmic image.