in t e r view with agnieszka bojanows k a
Interview with Agnieszka Bojanowska, the editor of Biathlon, Arena of Life, A Few Stories about a Man, and Szapito
ELA BITTENCOURT: What does your work with Bogdan
Dziworski normally look like? AB: My conversations with Bogdan take place before
shooting. A director generally sees what he wanted to shoot not necessarily what he shot, which is often quite different, not to mention more interesting. The camera sees things differently than the naked eye, and that’s why some directors end up with good movies instead of incredible ones. Once you impose a way of seeing on the viewers, you need to be consistent. You must seduce them with your magic. If you disturb it, they may lose concentration without realizing it. I’m not driven by the- ories but by intuition, and so I edit films very quickly. If you get hung up on what if’s, you’re finished.
EB: But we all have doubts. AB: I don’t and neither does Bogdan. He tries to find
the right technique for something that he has already thought out in his mind. He is a poet, and in a way his films are not documentaries. Bogdan thinks in pictures.
AB: Do you keep him at bay during editing? EB: No, no. He participates, but he knows that when I
am picturing a scene in my head I must not be disturbed. If you were to look at a painting in a museum, it already has an inherent rhythm. Even a blank white wall has it. The rhythm is inherent in the image, and I just need to capture it and bring it out. It’s as if you had an alphabet and started making words out of it, picking what you need. Arranging the images is the hardest. Sometimes I draw the order of scenes on paper, but when I see it on the screen the sequence looks awful. Other times, all I have are great cuts that still don’t make a film.
EB: What made you want to work with Dziworski? AB: His imagination and his drive to get beyond
what’s trite. There is no room for boredom in my profes- sion, which is why I am always excited when a director keeps on trying things, bringing in new stuff. For me, cinematographers are even more important than direc- tors. Some cinematographers don’t know how to create an image, and no matter how you edit them, it’ll always come out wrong. But the ones like Wojciech Staroń or Bogdan’s collaborators are always seeking something. When you meet someone who has a real curiosity about the world, you sense it. [Polish director] Tadeusz Konwicki once said that film gets exposed from both sides—first, by the unique vision of the cameraman and second, by what it actually captures. Both sides are important.
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