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NAME:
Filip J. Rymsza
TITLE / ROLE:
Writer / Director / Producer
COMPANY:
m31 films (www.m31films.com)
PRODUCTION CREDITS:
Sandcastles (a.k.a. binary blindfolded brides)
Eden (TV) director
LIVES:
Arlington Heights
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(Continued from Page One)
So, to answer your question, how can I leave that behind? It's outside academia – it's irrevocably a part of who I am. Simply put, it's how I see the world.
I recently directed and edited a lingerie show / beauty pageant. Such a venture would certainly call for "leaving it behind." But I managed to incorporate some atypical camera movements, I put together some suggestive juxtapositions, and cut many of the sequences like one would a sing-along music video; that is rhythmically, but also interpretively. So, that is to say, I kept myself amused.
"Sandcastles" has a fairly unusual subtitle – "a.k.a. binary blindfolded brides." Care to explain?
It refers to the last line of a poem, entitled "It Started Off Like a Sneeze," which I wrote concurrently with "Sunday Morning Sublime." "Sunday Morning Sublime" was the composite screenplay from which I later produced "Sandcastles" and "Dustclouds." The last line of the poem is, "sandcastles and binary blindfolded brides," referring to "the push and pull that our attraction to the moon provides."
Any festival plans for the film?
The film was made with the festival circuit in mind. That was our end objective. Recently, I've been informed that it will be "in-competition" at the Lato Film Festival in Kazimierz Dolny, Poland, as well as at the Gdansk Polish Film Festival. But no word yet from the festivals here. Time will tell.
You worked with Roman Polanski on "The Pianist" and have worked on some other projects throughout Europe. What did you learn from working with such a master and how did those filming experiences compare to the projects you've worked on in the States?
I only spent a few days on "The Pianist," as assistant director of the second unit. It can hardly be regarded as working with Polanski. And what I learned from Krzysztof Zanussi, while assistant directing on his film "Supplement," is that even the masters are insecure.
Oh, and he also taught me that when one makes a mistake, instead of offering forth an admission or explanation, one can achieve the same results by quoting Fellini. I'm sure there are other things I learned, but I can’t recall them at the moment.
And in terms of film production, I think it's universally the same. That's especially true of independent films. The medium, e.g. equipment, delegation of responsibilities, requires it to be so. But what I came away with, from my entire European film experience, is that one must create, regardless of the conditions that are imposed on you. The set of a film that wins a few Oscars and, more importantly, the Palm d'Or, is very similar to that which goes "straight to landfill."
It's just a matter of talent and dedication. This would be the perfect time to offer forth a cliché, about inspiration and perspiration, but I'll resist that temptation.
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006: Filip Rymsza
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