‘EO’ Filmmaker Jerzy Skolimowski On Lessons Learned From Robert Bresson DeadlineContenders
, “practically a road movie” whose POVs from the titular donkey “were the most effective element of the whole filming and editing.”is a vision of modern Europe seen through the eyes of a donkey on a stoic journey through a world where disaster and despair alternate with unexpected bliss. FromComparisons have been made to Robert Bresson’s 1966 study of the same breed of animal in something Skolimowski welcomes.
“I was a young unknown filmmaker from Poland and suddenly I received a phone call from the boss of [prestigious film journal],” he said. “They wanted to interview me because they just made the list of the 10 best films of the year and to my huge surprise my little modest Polish movie was in second place. Of course I was extremely pleased, but I immediately asked who was on the first place and it was Bresson’s Skolimowski immediately sought out the film and “loved” it.
Taking a lesson from Bresson, Skolimowski said, “An animal character can move an audience much deeper and somehow stronger than any human character who would be performing. … An animal doesn’t know the act, doesn’t know that they are acting. They are just natural they are being there.”] taught me that enormous lesson that I can risk to make a movie with an animal character as a main character because that would guarantee that the audience would believe, trust.
Did wrangling the animals provide any specific challenges that took the script in a different direction? Said screenwriter Ewa Piaskowska, who also was onpanel: “I think the meaningful difference between the script and what the film turned out to be is that we found out that we loved looking at the donkey so much that we basically cut the human parts more and more and more with every editing version.
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