The points of the Decalogue read:
1. Remember there is only one form of ‘poetry’. The opposite of poetry is professional expertise. Before you start making a film, write a poem, paint a picture, create a collage, write a novel, essay etc. Only by cultivating your ability for universal expression will you ensure you will produce a good film.
2. Surrender to your obsessions. There is nothing better. Obsessions are the relics of childhood. And the most precious treasures come from the depths of childhood. You need to always keep the gate to your childhood open. It is not about specific memories, it’s about feelings. It’s not about consciousness, it’s about unconsciousness. Let the inner river flow freely through you. Concentrate on it but at the same time relax completely. When making your film, you need to be 24 hours submerged ‘in it’. Only then will all your obsessions, your childhood, enter your film, without you being consciously aware of it. And your film will become the triumph of ‘infantilism’. And that is what it’s all about.
4. Keep exchanging dreams for reality and vice versa. There are no logical transitions. There is only one tiny physical act that separates dreams from reality: opening or closing of your eyes. In daydreaming even that isn’t necessary.
6. The deeper you enter into the fantastic story the more realistic you need to be in the detail. At that point you need fully to rely on your experience of dreams. Don’t worry about being ‘boringly descriptive’, pedantically obsessive about an ‘unimportant detail’, documentaristic. You need to convince the viewers that everything they are seeing in your film concerns them, that it is a part of their world too, and they are submerged in it to their ears, without realising it. You need to convince them about that, through all the tricks you possess.
8. Always pick themes that you feel ambivalent about. This ambivalence has to be strong (deep) enough so you can walk on its edge and not fall to either side or even both at the same time. Only by doing that will you be able to avoid the biggest sin: film à la these.
9. Cultivate your creativity as a form of self-therapy. Such an anti-aesthetic attitude brings creativity closer towards the gates to freedom. If there is any purpose at all in creativity it is that it liberates us. No film (painting, poem) can liberate a viewer unless it didn’t liberate its author first. Everything else is a question of ‘common subjectivity’. Creativity as a process of permanently liberating people.
10. Always put the continuity of your inner vision or psychological automatism before an idea. An idea, even the greatest one, shouldn’t ever be a sole motivation for wanting to make a film. The creative process doesn’t mean stumbling from one idea to the next. An idea becomes a part of a creative process only when you have found the theme that you want to express and you fully understand it. Only then will the right ideas emerge. An idea is a part of creative process, not an impulse for suddenly becoming creative. Never work, always improvise. Script is important for a producer, not for you. It’s a non-binding document you should only return to when your imagination lets you down.
Although I have formulated this Decalogue on paper it doesn’t mean I consciously refer to it. These rules somehow emerged through my work, they didn’t precede it. Anyway, all the rules are there to be broken (not avoided). But there is one rule which, if broken (or even avoided), becomes destructive to the artist: Never subordinate your personal creativity to anything but freedom.
My drawing of Svankmajers puppet from 'Little Otik' 2000 |
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Pages from my sketchbook. I was inspired by Svankmajers Exhibition to create my own make belief animal. |
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