HN: The non-dialogue trilogy uses some abstract visual language as metaphors that leave the understanding of the films to the audience’s individual sensibilities and interpretation. What do you think are the appeals and merits of that animation style?
Marta Pajek: I think this approach allows the audience to resonate with the film on a very personal level. The film is like a structure, or a vessel, which someone in the audience fills with their own experiences, sifting through their own sensibility, so the final experience can be very personal.
HN: In addition to the previous question, it appears that the plants and water in the films are a recurring theme. What are the meanings and symbolism behind that?
Marta Pajek: Nature in general is a strong force in all three stories, but I would like to leave the interpretation of the meanings and symbols to the audience. This is the most inspiring part of filmmaking for me – that my creation is only one part of the story – the other part is what an individual watching the film brings with him to the cinema.
HN: Impossible Figures and Other Stories II uses I’ll Be Your Woman by Michelle Gurevich,
III uses The Garden by Einstürzende Neubauten and Impossible Figures and Other Stories I uses Where Have all the Flowers Gone by Pete Seeger. Could you please let us know the story behind the decision of using those songs in the films?
Marta Pajek: The interesting thing is that I wasn’t planning on the songs on the stage scriptwriting. It started with part II, when I found ‘I’ll be your woman’ by Michelle Gurevich. I was looking for a song for the scene, where we see people dancing at what’s supposed to look like a dying house party. ‘I’ll be your woman’ however brought much more to the film. Using that experience, I was looking for songs which would conclude the remaining two parts in a similar way and bring the stories onto a new level.
HN: The song you selected for Impossible Figures and Other Stories I is performed quite differently from the other two films, as it starts out with the character simply speaking the lyrics of Where Have all the Flowers Gone. What were your aims and intentions with that?
Marta Pajek: Where Have all the Flowers Gone is a very special song, an iconic song. It was performed by many artists, but my favourite version is that of Marlene Dietrich. This version was our reference for the film. The protagonist of the film is an old woman. I wanted her to perform the song as a final gesture. I wanted her singing to be fragile, yet powerful and this last performance of the old woman to bring a light of hope into this otherwise dark vision.