User:Conorocallaghan1991/sandbox

‘In August 1998, SlawomirIdziak told me that he was the one who created the filters which he used (for the first time) in A Short Film About Killing. After Kieslowski showed him the screenplay, Idziak told him, “I cant even read this! It disgusts me,” and the finally conceded, “I’ll shoot it only on the condition that you let me do it green and use all my filters, with which I’ll darken the image.” Kieslowski was not pleased, but he accepted the ulitimatum-telling Idziak, “if you want to make green shit, it’s your affair.” The cinematographer concluded, “That’s how the graphic concept came about which cahiers du cinema wrote that it was the most originally shot movie in the Cannes Film Festival.”’ Pp. 191

‘To get at the psychological ambiance of his film, Kieslowski resorts to old tools: vignetting, bled-out color, high contrast. He films the killer's story

Kieślowski credited his cinematographer SlavomirIdziak with the deliberate visual unattractiveness: “I sense that the world is becoming more and more ugly. . . . I wanted to dirty this this world. . . . We used green filters that give this strange effect, allowing us to mask all that isn’t essential to the image.”’ Pp. 95

The dehumanising filters used by cinematographer SławomirIdziak not only dehumanise and distort the images of Warsaw but also leave some diffused colours in the centre of the frame.’ Pp. 92 ‘Idziak’s known predilection for hand-held camera also enables him to achieve an excruciating tension as he follows the daily routines of the film’s protagonists.’ Pp. 92-93 ‘The semi-documentary nature of Kieślowski’s film is also magnified by the use of actors not widely known in Poland prior to this film.’ Pp. 94 Paradoxically, the semi-documentary aspect of Decalogue is evident above all in the most stylised part of the series, Decalogue 5, and its extended theatrical version.’ Pp. 90