The Siemek's update

Work at the Marek Siemek documentary - "The Faculty of Accidental Necessity" (yes, the title evolves)  is in full speed now.  Lately I discovered a rare video footage of Siemek's lectures, recorded when he was at his peek.  In his early 50ties, beaming with charisma, smarts and power he validates the raves other have been using in describing him.

What's more important -  in one of the lectures he brings his guard down and allows for a discussion about how much in what he talks about is his own and what are his philosophical goals.  His normal method is to hide himself rather well behind "the presentations" and behind "showing the field".  Yet in the same way there is no objective storytelling in film, here is no objective presentation in philosophy.  I think.

Needles to say this footage significantly colors the entire story.

Yet, as shown below, listening to (even brilliant) philosophical lectures could be challenging, boring and frustrating (to some):

Context

Janusz Głowacki, the screenwriter of Wajda’s “Walesa - the man from hope” recently published a book that chronicles his involvement in the project.  Describing one (abandoned) version of the finished film he wrote: 

“Scenes stood next to each other indifferently, cold and a bit sad (because they were trimmed to fit a longer version and additionally related to each other only historically).”

This resonates with my increasing conviction that in storytelling context rules.  Filming may be “sculpting in time” but it’s the juxtaposition of elements that is the building block of narration.  It’s a banal statement but it’s in the quality and the aims of juxtapositions that films soar or collapse.  

That which appeared before defines that which comes after that.  That which comes now influences that which appeared earlier. Time is flexible.  Context changes the reality.   The meanings shift depending on what’s around the elements that define the meanings.   All depends. 

Wojciech Kilar

I spoke with him once.   I somehow got his number and called "of the street and out of the blue" to ask for a permission to use in a documentary a quote from him music written for Wajda's "The Promised Land".   I was nervous and doubtful if he even talks to me.   (He was already huge, having worked with Coppola and Campion.)

I managed to briefly explain the project.   Amazingly, he agreed immediately.  He said that he would be glad if his music has "a second life", that it would make him happy.   He sounded genuine, positive and energetic.

It was not only a big artistic help, a valuable production contribution, but also a genuine, simple good deed.