piotr said:

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CRIME AND PUNISHMENT

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The music was written
by Janusz Hajdun,

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with additional piano effects

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recorded by Leszek Mozdzer.

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I asked Janusz to compose music
which would be reminiscent

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of the soundtracks
to Hitchcock's films

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composed by Bernard Herman.

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Opening credits were made at the end
as an almost independent mini film

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and they too were inspired by the
opening credits of Hitchcock's films

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such as Psycho, where you could see
elements of animation

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and the music already introduced
the mood and created tension.

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The film's premiere took place at
the Ottawa festival.

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The audience was not aware that it
was half-an-hour Iong.

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The opening credits ran
for three minutes

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and at their end people
started applauding,

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thinking this was the end of
the film.

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I carried around the idea of adapting
Crime and Punishment for many years.

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It came to me in 1980,
my final year in college,

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when I was working on
my final drawing project.

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It consisted of an eight-page cartoon
based on Crime and Punishment,

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which was actually more Iike
a shooting script.

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I'd never made a film, but when
I showed it to Daniel Szczechura

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as a film concept, he said:
"Do it".

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Twenty years passed before
I started making the film.

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It would of course be a completely
different film if I had done it then.

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Here, just like in
the case of Kafka,

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I gradually eliminated fantastic
fragments for the sake of realism.

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It is almost a live-action film.

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It is even closer to reality
than Gentle Spirit:

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there is no morphing,
no animated movement of space.

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The space is built almost
entirely through multiplan.

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There are also some real,
three-dimensional elements

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Iike twigs, leaves
and dried flowers.

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Occasionally a streetlamp was
"played" by a pen

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and the edge of a wall by
the edge of a book.

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The beginning is inspired by
a sentence from Dostoyevsky's letter

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in which he calls St. Petersburg
a phantom city

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and expresses his anxiety at the
thought of mist being blown away

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only to reveal that there is not city
there at aII but only marshland.

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I used this idea for the beginning:

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from out of marshes and mists gliding
over the ground,

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there emerges a five-storey
Petersburgian house.

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And entering the house, we enter the
city spread behind it.

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It was to be a story of a city that
creates its characters from nothing

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and a story about two worlds: the
world of man and the world of nature.

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This city is still surrounded by
marshlands and wilderness

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and events taking place here are
strongly influenced by nature.

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There are more animals and insects
here than in any other of my films

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and there is something animal-like
about the characters, too.

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They have animal eyes.

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Having done away with dialogue,

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I had to convey everything through
gesture and facial expression.

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Eyes are especially important:

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the characters watch each
other ceaselessly

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and it is their eyes that betray
their fear, despair and desire.

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This was a dream scene which was
not part of the novel --

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the film is quite
a loose adaptation.

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However, it had a fragment about
Raskolnikov waking up from a nap

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to see a man sitting by
the bed and watching him closely.

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The reader could take this disturbing
stranger to be part of the dream.

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This is how I did it: a man appears
in Raskolnikov's dream

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and signals the appearance of
Svidrigailov in reality.

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I had to exclude many characters;

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it was impossible to cover all
the strands of the plot.

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It was my ambition to do the first
multi-layered film in my career,

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but I couldn't tell the whole
story of Marmeladov

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or Razumihin's love for Dounia.

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Svidrigailov's Iove for her
is only signaled

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through a portrait carried
in a suitcase,

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which emerges here like a memory.

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This face shouldn't be confused with
Sonia's -- it's a different woman.

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The music here was meant to
resemble a fragment

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from Saint-Sa雗s, Carnival of
the Animals.

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Generally, I wanted this to be a sort
of an animated Hitchcock,

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which turned out to
be very difficult,

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considering that everybody knows
the novel and its ending.

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Moreover, 75% of the novel takes
place after the crime.

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How to show the murder in the
beginning and then

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develop the theme of inner tension
and transformation of Raskolnikov,

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of his complex relationships
with others?

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This is the first encounter
with Sonia,

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a sort of guarding angel,

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which appears here in a different
way than in the book.

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There, Raskolnikov only heard about
her before committing the crime,

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which he decides to confess to
her afterwards.

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In my film he knows her before
the murder,

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which I placed almost at
the end of the film,

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and therefore there is
a possibility

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that Sonia will stop Raskolnikov
from committing it.

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Svidrigailov embodies the dark side
of Raskolnikov's soul,

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just as the boy at the beginning
embodies the innocent one.

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In my reading, possibly contrary
to Dostoyevsky's intentions,

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the main hero exists
in three characters.

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Three different time periods
exists simultaneously:

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Raskolnikov as a boy,

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young Raskolnikov about
to commit murder,

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and old Raskolnikov as Svidrigailov
looking back bitterly on his life

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and encouraging the young man
to commit the crime.

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In the book he also tries
to persuade Raskolnikov

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not to confess and escape with
him and Dounia to America.

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Svidrigailov was in love with Dounia,
Raskolnikov's sister.

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This encounter of Raskolnikov with
Dounia does not occur in the book.

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It is permeated with the desire
to stop the flow of events.

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I have tried to make this scene,
where he goes to see Sonia,

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resemble another scene later on, where
he approaches the pawnbroker's room.

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All the stairwells, balustrades,
rooms and courtyards are so alike

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as to give an impression that it,s
aII happening in one house.

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This condensation is present
in Dostoyevsky,s novels:

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characters keep running into each
other at street corners,

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or they meet on trains, as in
the case of The Idiot.

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I made use of this method by
condensing the fates of the characters

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and showing them in close-up view.

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I combined it with images from
characters, psyches

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-- dreams, fears and delusions --

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in a way which makes it hard to
distinguish them from reality.

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It gave the effect of blurred
boundaries and cognitive uncertainty.

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I still have reservations about
the soundtrack.

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Unfortunately, I had very
Iittle time to make it.

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Everything was recorded
in two nights,

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so there was no time for
polishing things up

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and it still bothers me when
I watch it.

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This coat put only half way
on by Raskolnikov

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is an echo of a drawing by Krauze,
where a husband puts on a coat

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and turns to his wife saying:
"I'm going to meet the directives".

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The old woman is a figure I remember
from films I watched as a child,

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especiaIIy from Snow White,

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where the mean stepmother is changed
into a hunched old beggar.

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She had a huge, hooked nose and oily
hair in a bundle.

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As we know, the old pawnbroker
applied oil to her hair.

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I recorded the look of the courtyards
during a three-day trip to

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St. Petersburg I took few months
before making the film.

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This white streak on the right is
the spine of the book

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Crime and Punishment, which I placed
in the foreground to act as a wall.

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Cotton wool in a keyhole is something
I remember from my childhood:

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we shared the flat with another
family and had to cover the keyhole.

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Here we can see Svidrigailov peeking
from the opposite flat.

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He pulls out the cotton wool as
if from an ear --

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I wanted to make it disgusting.

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This is Lizaveta,
AIyona Ivanovna's sister.

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The bell was rung by Krzysztof Lang,
a film director,

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who sat around waiting for
the studio to be vacated.

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I Iike this shot.

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I think I managed to animate
the old woman pretty well.

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Here she almost spoke, but the watch
interrupted her.

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This was the only morphing and
illusory camera movement in the film.

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You can see the present and the past
penetrate one another here.

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There is a miniature portrait
of Dostoyevsky on the dresser,

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acting as the portrait of the
pawnbroker's late husband.

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Crickets and watches were the first
idea I had concerning sound.

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Red apples scattering on the floor
are again a reference to Snow White --

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she took a bite and dropped dead,

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while the red apple
rolled on the floor.

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After the murder everything
falls silent

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and only the blood flows down
a grass Ieaf.

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The nature's role here is to soothe,

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or maybe indicate that
it is all part of

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the horrible phenomenon called life:

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the animal Raskolnikov killed
the animal pawnbroker.

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There are places in this film which
even I don't understand.

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Does she appear here or is it only
his memory of what could have been?

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Is this young Raskolnikov or maybe
their potential child,

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which cannot be born and
therefore disappears,

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because Raskolnikov committed murder
and closed certain doors for himself?

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He was to dissolve on this bridge,

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but the shot was cut out as it
was too fantastic.

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Only his shadow disappears.

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Another fragment I don't understand:

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Sonia runs after Rodion in a storm,

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while Raskolnikov wakes up,
making us uncertain

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whether it was a dream or something
about to happen.

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This street is a reminiscence
of Wolska street in Warsaw,

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where I lived as a boy.

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At the time I was obsessed with
walled gardens.

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A waII separating the city from
nature, which observes us closely.

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Just like the flies observed
the Gentle Spirit,

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so the trees and plants watch the
events unraveling in the city.

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The city sinks.

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It's as if Svidrigailov was the only
man that survived.

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The empty boat adds
to this impression.

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And, just like in the novel,

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before committing
suicide Svidrigailov

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spends the night in a hotel.

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In the morning he shoots himself.

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This is a motif from Munch:
a man sitting by the window.

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The faces are greatly influenced by
those painted by Rembrandt.

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And here's Manhattan again,

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drawn this time in 2000.

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I consider Svidrigailov
the most mysterious

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and most romantic of all
of Dostoyevsky's characters.

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Just before death, he talks to a man
who tries to stop him

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by saying: "This isn't
the right place".

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Svidrigailov replies:

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"The place is right,
and if they ask about me,

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tell them I've gone to America".