Head Italiano

interviste

Joanna Jasiñska - Koronkiewicz
di Francesca Villani


Dies IraeIn Dies Irae the most terrifying musical sequence of the Christian liturgy becomes animated, in a film which seems a hymn to freedom and life. Is this interpretation right?
I think that every interpretation the spectator would give to the picture will be ok. Even if it was not anticipated by the filmmaker. Yes, indeed, freedom and life are just the opposite to danger and death. The four elements: fire, air, water and earth represented by four Dies Iraehorses create life just like destroy it. Life could not exist without them, but to the contrary every cataclysm are caused by the “ fury of the elements. Life and death are one, when one ends the other begins. The idea of the movie was to picture four horses – four Riders of the Apocalypse – who not waiting for the Doomsday to come, set themselves loose as raging elements. After demonstration of their powers they return to the respectively gentle form of fire, air, water and earth. Hidden they stay, awaiting the next opportunity to attack.


What attracted you in Mozart’s Requiem, which also inspired the director Karl Dreyer for his famous film “Day of wrath” in 1943?
Mozart’s music has inspired me for the first time when I saw Milos Forman’s “Amadeus”, which I consider as a masterpiece of cinematography. Especially the scene when dying Mozart is dictating to Salieri his last notes of requiem made the most impression on me. Marvelously shooted and enhanced by Mozart’s music picture made me needed Mozart like an air. Autumn and winter favor nostalgia therefore I listened to Requiem most of the time. Dies Irae inspired me with its extraordinary expression and power thus all the time in my head I felt horsehooves rumbling. That how the idea of the movie started. At the beginning the association with gallop and horses was born, than four Riders of the Apocalypse and four elements came to me. Finaly I relieved the Riders and only horses stayed…


What was your message to the spectator?
I hope my picture sends similar massage to the massage sent by the music. During work on the movie I had lots of respect and humility to Mozart’s music and I thought that the picture should not have some specified story, just to flow with the music. The sense of fear, divine anger and beauty was the main idea I hope I was able to show it to the spectator.


What is the role of animation films in your country?
In Poland, as everywhere else animation makes an important part of the tenth muse . From common animation used in cartoons and commercials to artistic and experimental animation. I find the series of music movies since many years produced by TV Studio of Animated Movies in Poznan, with whom I have the honor and pleasure to work, as very useful and necessary. This series has the task to show to the young spectator classical music in a more comprehensive form. I thin that in this new 2010, which will be Chopin’s year, we will be given to see numerous movies dedicated to the young spectator, movies inspired by Chopin’s music and with his music as the theme.


Which were your specific studies?
I have studied animation in the cinematography department of Film School in Lodz(Panstwowa Wyzsza Szkola Filmowa, Telewizyjna i Teatralna im. Leaon Schillera). My first teacher and my master was prof. Kazimierz Urbanski whom I visit from time to time to Get some advise and to consult ideas.


What are your professional expectations?
I hope I will be given many opportunities to make animated movies based on my own ideas and conceptions, using my favorite techniques. I also hope my producer Mrs’ Ewa Sobolewska sees it the same way I do… Each new idea, new project is a new period in my life, during each of them I learn a lot about art of moviemaking , exploring new painting techniques, new formal and screenplay solutions. Each new movie is like a search and I love such expeditions. When a moment comes that the movie is almost finished I feel like crying and until new project is born I feel very lonely


What do you know about Italy and Italian cinema?
Modern Italian cinema unfortunately does not reach polish screens in a sufficient numbers… Probobly just like polish cinema in Italy. I love “La Vita è Bella” by Roberto Benigni and of course „ Nuovo cinema Paradiso” and “Malèna” by Guiseppe Tornatore. Moviemakers such as Fellini, Antonioni or Bertolucci are already a finest history of cinema and it is difficult not to value their work. At the classes of cinematography we often show to the students “Il Conformista” with fabulous shootings of Vittorio Storaro. Maybe it will sound funny but Italy and especially Sicilly are associated to me with “The Godfather” by Francisco Ford Coppola. In Poland Italian cuisine is widely known, dishes like pizza, spaghetti or pesto is known to most of the polish people. I am sure that Italian dishes in Poland have very little in common with original italia cuisine (I had a best Lasagne in my life made by nuns during my visit in Cetraro), but polish like it regardless of how similar or different they are.


Our festival is dedicated to Simona Gesmundo , a young and talented graduate in artificial intelligence. What is your opinion of artificial intelligence applied to animation
I consider AI is a very important issue. We follow the progress of civilization, science, and engineering as this is our future. In the field of moviemaking editing, compositing or 3D animation software made moviemaking significantly easier giving us tools which before we could not even imagine. That’s why for this day I consider “Tango” by Zbigniew Rybczynski (who received Oscar for this movie in 1983) as a masterpiece in animation. It is hard to belive that his movies were made without any digital computing.

Full synchronization huge numbers of objects seems too difficult to be in control of a single brain. But no… it is possible. I appreciate the digital animation in full but I reckonthat it is just a tool give to our hands. From us depends if we use it wise and creatively. Authors of animation and graphical/painting software have a big problem to create a most ergonomic tool for the artists. Animation is specific form of cinema, particularly because the only limits are the limits of human mind. A movie drawn with single line on white sheet can be as fascinating as enormous movie epos with millions of special effects. Through ages and different spheres of art the most important thing was the idea, human thought,  and I think this will not change, ever.



Are you currently working at new projects?
Yes, currently I work on a miniature movie to the ballade of Chopin. Just A propos Chopin’s year and movie series to his music. I am also preparing new project – mini mini movie to one of Chopind Etude – it is a small brick in a wide project. Ballade, similar to “Diea Irae” is also animated with oilpaint and canvas, frame by frame. It will be a lovestory in black and white with some amount of grayscale. It is a bit of joke but to tell you the truth indeed the movie is black and white and is a metaphor of relationship between man and women and touches different stages of love … that is - gray areas.


The association of cinema and music as the subject of films or for the involvement of artists and musicians has always been popular. How can music accompany or enrich animation, in your opinion?
I love to animate to the music. Its rhythm is pointing out to me style, story, design… everything. Music itself is a story, you just have to catch it, take it out of your imagination and put I on the canvas. Animation and music love each other in an special way. I find abstract synchronizations of Oscar Fishinger fascinating but personally I didn’t grow up in my art enough to picture the music through animation and I will possibly never grow up. Anyways I would like that in my future movies design and form will have more significant role. I want to leave the spectator more space to feel and take pleasure from watching and listening instead of trying to understand the story.

My coming music movie will be more dedicated to young children therefore I need to put my experimental ambitions away until new project. At the end I would like to express my thanks for you being interested in my person. It was a pleasure and honor to have a chat with you.





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