![]() ![]() We knew that we had an hour of great light. It was just a conversation about story: “What do we have from the scene? Where could it go? How could it develop? Are we shooting just one scene? Should we go onto the next scene? Which scene from the puzzle that I had outlined are we doing now?”Ī lot of it was trial and error. Once you’ve done something for so long, you don’t really focus on it. It’s just about story and responding to the light and to the moment. This is my rule: Once we’re getting in the mode of “This is the time that we might possibly shoot,” it’s just about story. But once we went out, that wasn’t a thing that we had to worry about. So we had a long downtime after every shoot, cleaning our equipment and getting it ready, recharging it for the next days shoot. ![]() That’s why we modified almost every piece of gear. Marczak: Because we put so much time in prep, the whole idea was that when we were on set, taking care of the equipment would be subconscious. Marczak maintains a novelistic feel in his direction, much as Terrence Malick’s recent film Song to Song does with its interweaving narratives-in which characters come and go, every interaction and relationship feels of tantamount importance, and people express themselves through the pulsing bass of house music. In the film, two art students, Krzysztof Baginski and Michal Huszcza, “play” themselves over the course of two summers in Warsaw. ![]() Going from party to party until there are no more parties, so you walk the empty streets in the early morning light, your best friend at your side, eventually ending up in a bed with all your clothes and the lights still on, only to wake up and do it all over again the next evening… Polish moviemaker Michal Marczak’s docufiction feature All These Sleepless Nights successfully examines these moments. The essential listlessness of youth: So many have tried to capture that on camera, though every film that does so successfully makes it feel like the first time. ![]()
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