American Cinematographer - November 2017 - 62

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Polish Hospitality
this table with this tiny little turkey we
somehow managed to find. That was
our Thanksgiving. It was certainly one
to remember!
Paul Cameron, ASC: I'd heard
about this mythological event that
happened annually in Poland, but I was
never able to go until 2012, when I was
invited to judge the main competition
and was sponsored by Red to run a
master class. I was shocked at the
number of peers, vendors and manufacturers from around the world who were
walking through the main floor on
opening night. The first party was
packed with some of the best cinematographer talent in the world. It was
empowering; for once, the cinematographers were the rock stars! I knew the
week would be memorable.
Guillermo Navarro, ASC
(Golden Frog, Pan's Labyrinth, 2006):
My first impression was this profound
sense of being in Europe in the winter
- and the sense of how they honor
film, and how film is really a cultural
expression of the world. There, it's more
of an artistic rather than commercial
understanding of what film is. There's a
sense of nobility, and that the work is
taken seriously.
Jacek Laskus, ASC, PSC: I
believe I first heard of Camerimage the
very first year it happened. Being a
Polish-born cinematographer, it was
music to my ears to hear that a festival
dedicated to the art of cinematography
would be held in Poland. Then, arriving
from L.A. in November, my first

Christopher Doyle, HKSC
"It always surprises me that most Americans put the accent on 'camera' in the
word Camerimage. I put the accent on 'image.' A camera will record whatever s--or genius that is put in front of it. The image is what makes it a Moving Picture: an
image that moves, in all senses of the term.
"The 'kids' think we come to share 'experience' or to reveal some formula that
will take them to the top. We know we come here - and come back, and even
include a break for Camera Image in our shooting schedules - because those kids
give us more than we could ever give them. They remind us how it is to be hungry.
They remind us how naïve, innocent, even stupid questions lead to unexpected
answers and resonant results.
"Camera Image is the only place a cameraperson can let her hair down.
"I am pissed off that the venues don't hold more people. We need a stadium
venue to celebrate all that Camera Image intends to share.
"There is no answer or cure for our addiction to the image. The dope is so
good. You will leave Camera Image so enriched, informed, and connected to the
energy, confidence and trust that Camera People must find, that it will inform all
your work."
impression was: It is cold out there. But
that did not last long. The spirit of
camaraderie, the warm welcome from
Marek and Kazik and all the organizers,
quickly made me forget the cold
weather.
Witold Sobocinski, PSC
(Lifetime Achievement Award, 1994):
I remember those initial years of the
festival very fondly. We were not used to
having a place where our work was celebrated to such an extent, where images
were appreciated and respected for what
they are and what they can become in
capable hands. I remember the feeling of
gratitude. Toru´
n, where the festival took
place back then, was magical, too.
Ellen Kuras, ASC: Those who
were lucky enough to experience Toru´
n
at that time remember lavish dinners in

Daniel Pearl, ASC
"I was at the Open House for the ASC Awards in 2006,
and [Camerimage managing director] Kazik Suwala stops me
and introduces himself. He says, 'I would like to invite you to
a party that we're having on Friday.' So I go to the party, and
Vilmos Zsigmond [ASC, HSC] is there, Laszlo Kovacs
[ASC] is there - all these senior European cinematographers. Kazik and Marek take me off in a corner - and of
course the vodka's flowing like water - and they tell me they
wanted to come up with an award for music-video cinematography. They go, 'To inaugurate this idea, we want to give you
an outstanding-achievement award for your work in music
videos.'
"Keep in mind, this is January or February of 2006. And
62

November 2017

the beautiful 19th-century mansions,
and winter-wonderland walks through
the old city in the wee hours of the
morning, after hours of chatting at
parties. The setting has changed
through the years, but the films and the
Polish generosity still take the stage.
Now it's much bigger - there are many
more exhibits, more sponsors, more
master classes, more film categories,
more jury members, more staff and
more parties, but the intimacy and the
chance to speak to world-renowned
cinematographers on a very informal
basis is still there.
Stephen Lighthill, ASC: I really
love going to Poland - and that was
really my first impression of the festival,
having a love affair with the country
itself. Being set in a small town is a key

they say, 'We'll give you the award in 2007.' Even though I
have a little vodka in me, I'm thinking, 'That's 21 months
away. What the f---? Nothing in my life has been planned that
far out and actually happened.' So now I think it's all just pie
in the sky.
"We finally wrap it up, and as we're shaking hands,
Marek says, 'By the way, what kind of a name is this, Pearl?'
And I said, 'Well, the family name is Pereluk' - and before I
can even say that the guards at Ellis Island had changed it to
Pearl, he screams out, 'You're Polish?! We give you the award
this year!'"
Pearl received the Award for Outstanding Achievements in
the Field of Music Videos in 2006.

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American Cinematographer - November 2017

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