into the white: 8 Days a Week

I used to think it a little excessive that people would get on a plane and travel to a place where there was a convention or sorts. Even, a film festival- unless of course you are trying to represent your pitch, script or film. I’m not sure what made me to decide to go to Lodz the first time last year. But after that, I couldn’t wait for another year to attend this one. But a year I did wait. I was off the plane and into a taxi, checked into the hotel and walked to Kaliska bar to meet a friend from last year. From plane to bar was less than an hour. Finally, I had arrived.

Lodz, pronounced ‘Woodge’ has been described in a Polish film as‘the arsehole of Poland’. Indeed many of the crumbling buildings peel paint so beautifully it looks like art. Much money has been spent on the main shopping and entertainment centre, ‘Maufactura’ and the soon to be built arts centre, supported by David Lynch. But Lodz, like many cities in Poland is fairly bleak looking. Bleakness has it’s quiet beauty. While walking from the grand theatre to the other cinema to the bars on and off Piotrkowska, one will come across this bleakness. Among the film students, films, alcohol, established Cinematographer’s and us, the mist of Lodz surrounds us. Though during this festival, all of us create this air, this shared love of film and comradery that makes the broken pavements, the cold, the grim architecture, all part of the festival. There was serious discussion about moving the festival to Warsaw, but it’s not happening. This festival belongs to Lodz. It is where Kieslowski and Polanski studied at the famed film school. Lodz needs this festival, even if it is being moved to the new arts centre.

Many people, including myself did not think the festival was very good this year. Due both to the lack of good films and lack of attendance, I felt it too. At first I was unsure whether of not it was because it was my second time there but after the students failed to turn up in force on their competition day, it seemed clear. Despite this, I was able to again meet new people both UK camera assistants and young Cinematographers.

Nonetheless, many of us stayed up to chat, drink and dance till 6am for 8 consecutive nights. We wouldn’t see much of each other during the day but would all meet at some point at the Centrum hotel where they hold the crummy eurotrash disco. We would spend most of the time in the lobby chatting. Among us were regulars Michael Chapman (Taxi Driver, Raging Bull) and Roger Deakins (Old Country for Old Men, Jarhead). One night I had got there early and saw Michael Chapman at the bar drinking straight Vodka. I had a brief work with him the other day so he knew my face. We started chatting and I wanted to buy him a drink He insisted he buy and I said I wasn’t going to argue with him. He said good because he’s run crews of hundreds. It’s Michael Chapman so when when he says jump, that’s what you do. When asked if he was shooting anything, he replied, ’No, I’m retired, I’m just an old fart!’. We did end up having a small conversation about what he said in the seminal book, ‘Masters of Light’ and about Vancouver.

People I knew started arriving when I was talking to Roger Deakins. He’s a friendly guy though aware how many people want to speak to him. I was lucky enough to speak to him for about 15mins. So noticeable was this that everyone I spoke to afterwards would ask me what we talked about.

Both Deakins but more so Chapman, when you get up close, are pretty frail. Billy Williams too though always in good spirit.

At the press conference for Ellen Kuras’s documentary, ‘The Betrayal’ (which took 23 years to make) I ended up asking the most questions (as with Harris Savides last year). So afterwards at the café, she knew my face. We chatted a little as we were both walking out of the Community Centre.

At times, many of us young Cinematographers can think that many of these established people have some special ability but far from being the truth, I have realized that many of them do not. Through the opportunity to experiment to hone their craft, they have become, a very skilled artist. But it does take experience.

On the last day though, me and a new friend Neil stayed up till 8am and ended up having a free breakfast at the Centrum hotel with all the established Cinematographers including Billy Williams, Michael Seresin, Tom Stern and even Alan Parker who came in with massive brown dungarees. When you see most of them talk about their work either at the press conference or in a workshop, they obviously have an air of something about them, as ‘masters’ of their craft. When I spoke to Roger Deakins and Michael Chapman, when you get up close, they both are quite frail men. At breakfast watching Michael Seresin stand next to the shoddy coffee machine, it was an interesting sight. They became even more human than they were during the workshops and talks. Half awake, eating breakfast quietly, these modern legends of film making in one room and there, I was.

On a last note, this year was made easier as I have been learning bits of Polish this year and was able to order food and drinks and express pleasantries. It makes so much difference… I highly recommend it.