{"id":4354,"date":"2018-10-22T22:48:57","date_gmt":"2018-10-22T20:48:57","guid":{"rendered":"http:\/\/whystory.pl\/en\/?p=4354"},"modified":"2018-10-22T22:49:45","modified_gmt":"2018-10-22T20:49:45","slug":"majewski-the-mas-ter-a-remarkable-director-writer-poet-and-painter","status":"publish","type":"post","link":"https:\/\/whystory.pl\/en\/majewski-the-mas-ter-a-remarkable-director-writer-poet-and-painter\/","title":{"rendered":"MAJEWSKI THE MASTER \u2013 A REMARKABLE DIRECTOR, WRITER, POET AND PAINTER"},"content":{"rendered":"

Being absorbed in writing a novel, I excluded myself from life, reality, phones and meet<\/strong>ings. Day after day, I sat down on the veranda of my Hollywood house, in the shadow of\u00a0<\/strong>eucalyptus and I wrote. I finished the work on my thirty eighth birthday and I gave a new\u00a0<\/strong>title to the novel: A pilgrimage to the grave of wonderful Brigitte Bardot.
\n<\/strong>
\n\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0Lech Majewski<\/strong> The Official World Centre<\/em><\/p>\n

THE PERIOD OF REBELLION AND GROWING UP<\/strong>
\nWhen asked whether in his childhood he already had leadership qualities, he denied firmly: No, quite opposite, because I was a rebel.<\/em> We can find his childhood experiences in his
\nworks, one of them will be shown in the recent film “The Wonderful Brigitte Bardot”, which he has been making in Katowice. The scenario to this film was based on the novel,\u00a0the writing of which he described as above. He thinks it is the most important novel among his works and he touches his childhood and youth in it. The scene at school with the portrait of Gomu\u0142ka presents realistically the event and shows the atmosphere of those times \u2013 The boy took out of his schoolbag a rotten pear<\/em> \u2013 explains Lech Majewski \u2013 he threw it at his colleague, but it hit the portrait of Gomu\u0142ka. This event wasn\u2019t a political act, but it caused a real terror at school. Children at the film set completely didn\u2019t understand the consequences that their peer at those time suffered.<\/em><\/p>\n

He realized his youthful desire to enter the magical world of art by writing poems. Together with Andrzej Hudziak, no longer alive, they started in high school \u201cThe Theater of One
\nMoment\u201d \u2013 Andrzej was a great actor, he starred many films, he was the favourite actor of \"\"Krystian Lupa and he became the leading actor of The Old Theater in Krak\u00f3w.<\/em><\/p>\n

Lech Majewski had his first exhibition of paintings when he was 15, in an old Empik bookstore in Katowice. He was attracted by arts, when he was a pupil of primary school, he
\nmade friends with the neighbour from upstairs \u2013 a student of the Academy of Fine Arts \u2013 I talked a lot to him, I started painting and so I had that exhibition early. I also remember that I made a poster \u201cThe Olympics in Mexico\u201d, I was 14 then, and I won the national competition. Then he also started publishing his poems in Poems, Culture or Radar. – Poems and painting were basic for my artistic development<\/em> \u2013 explains the Master. \u2013 I was admitted to the Academy of Fine Arts and almost at the same time to the National Film School in \u0141\u00f3d\u017a and I stayed there. I was looked after by the great Polish director Wojciech\u00a0<\/em>Has, who was my artistic mentor.<\/em><\/p>\n

At the age of 22 he published the first volume of poems “Fairy Tales of the Thousand Nights and One city”. A year later, he wrote the scenario and directed the film The Knight. Various directions of artistic work started in the young ages, gave him a broader perspective and made his works unique, thanks to which he was noticed and invited to Cambridge in 1981.<\/p>\n

EMIGRATION INTO GREAT ARTS<\/strong>
\nIn England he directed on the Thame quite a famous play Odyssey based on Homer, which made the American film producer, Michael Hausman, invite him to work in the United States. In the USA Lech Majewski directed Flight of the Spruce Goose, The Rio Prisoner and Gospel According To Harry, and in 1995 he produced Basquiat, the cult film for everyone interested in art. The Master Majewski discovered Basquiat to us much over two decades before the currently offered commercial items, like socks with pieces of his paintings.<\/p>\n

\"\"<\/p>\n

Living in a foreign country, let him make productions according to his own artistic visions, co-create the world known films and get experience in production \u2013 America gave me<\/em>
\na lot, it taught me a simple way of communication, brief and\u00a0<\/em>concise. I see differences between the Anglo-Saxon culture\u00a0<\/em>in American form and the Polish one<\/em> \u2013 says Lech Majewski. \u2013 Here a lot of expressions are contrived, many words are\u00a0<\/em>meaningless: \u201cas if, by no means, and in general, I would like\u00a0<\/em>to say, I think that in my opinion, no matter what we say\u201d, and\u00a0<\/em>you could talk this way without saying anything. I am sure\u00a0<\/em>it comes from the tradition of servitude in Poland, where for\u00a0<\/em>so many years you had to hide the true thoughts and intentions,\u00a0<\/em>because for words themselves you could lose your head.\u00a0<\/em>Whereas in a conversation with the Americans, there is a telegraphic\u00a0<\/em>conciseness. I remember the times when I gave lectures\u00a0<\/em>on scenario writing at the University in Yale in the period when\u00a0<\/em>16 Noble Prize winners of various fields were teaching there.\u00a0<\/em>I attended their lectures and now I may say about one characteristic\u00a0<\/em>quality: they spoke a simple language, they knew how<\/em>
\nto present complex subjects in a simple and communicative\u00a0<\/em>way, so that a child would understand.<\/em><\/p>\n

THE CULT ARTS<\/strong>
\n– I walk blindfolded through the dark and I tell about what I see\u00a0<\/em>and feel, what I love. Nothing is planned, because in life there is\u00a0<\/em>a bit more chaos than plans. This process reminds me of a tree\u00a0<\/em>growth<\/em> \u2013 explains the director. \u2013 A certain expert of my artistic<\/em>
\nwork said that all my works are created from seeds planted in\u00a0<\/em>the early poems. He wrote that idea in a doctoral dissertation\u00a0<\/em>and I must admit that it seems right. A tree doesn\u2019t think what\u00a0<\/em>to do, but it does what is written in its genetic code. A huge tree\u00a0<\/em>has its destiny written in a tiny seed. And this relates to both\u00a0<\/em>material and spiritual things.\"\"<\/em><\/p>\n

The Master is often surprised by popularity of his artworks in distant places around the world. In Japan there are six fan clubs of Lech Majewski. He is invited to film festivals in\u00a0South America as the guest of honor. There he finds out that young, south American film-makers know his works very well, which has become the cult cinema to them the moment it was broadcast on television there. He also was a few times in Iran, in Teheran, where his films are given unusual attention. On the Polish market of films, arts and literature, the author must be appreciated in the world first, so that the arts managers and sponsors \u2013 without being afraid of getting out of line \u2013 could present his or her works to a greater audience. In Poland, Lech Majewski is admired, and his achievements have become cult art, because the one who belongs to his fans, is sensitive.<\/p>\n","protected":false},"excerpt":{"rendered":"

Being absorbed in writing a novel, I excluded myself from life, reality, phones and meetings. Day after day, I sat down on the veranda of my Hollywood house, in the shadow of\u00a0eucalyptus and I wrote. I finished the work on my thirty eighth birthday and I gave a new\u00a0title to the novel: A pilgrimage to […]<\/p>\n","protected":false},"author":2,"featured_media":4358,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[640,641,644],"tags":[857,968,896,964,962,963,967,965,966],"acf":[],"_links":{"self":[{"href":"https:\/\/whystory.pl\/en\/wp-json\/wp\/v2\/posts\/4354"}],"collection":[{"href":"https:\/\/whystory.pl\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/whystory.pl\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/whystory.pl\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/whystory.pl\/en\/wp-json\/wp\/v2\/comments?post=4354"}],"version-history":[{"count":7,"href":"https:\/\/whystory.pl\/en\/wp-json\/wp\/v2\/posts\/4354\/revisions"}],"predecessor-version":[{"id":4365,"href":"https:\/\/whystory.pl\/en\/wp-json\/wp\/v2\/posts\/4354\/revisions\/4365"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/whystory.pl\/en\/wp-json\/wp\/v2\/media\/4358"}],"wp:attachment":[{"href":"https:\/\/whystory.pl\/en\/wp-json\/wp\/v2\/media?parent=4354"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/whystory.pl\/en\/wp-json\/wp\/v2\/categories?post=4354"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/whystory.pl\/en\/wp-json\/wp\/v2\/tags?post=4354"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}