A great discovery, well, perhaps not discovery
because I knew who Witold Sobociński was
because I'd seen a clandestine showing of 'Hands Up'.
So I saw that suddenly, a big surprise, a great talent had appeared in our cinematography.
I was thrilled by Skolimowski's film
but Sobociński's work there deserved exceptional notice.
Since we were making a colour film and a new world had appeared,
a French new wave, so to speak, and the years of fascination
with Italian neorealism had passed,
and with the American action movie
which had influenced us when we were making 'Ashes and Diamonds'.
All of that had passed and suddenly a new world had appeared,
a world caught on camera at that precise moment
which is the kind of film that 'Everything for Sale' became.
The title was mine. 'Everything for Sale'.
Later, we were made fun of. Opponents of the film used this title against the film,
everything for sale, everything for sale. But that's the truth, that's our profession.
Because of this, the actors suddenly felt liberated and talked about themselves.
We worked with great freedom.
Witold Sobociński, with his camera, his sense of colour,
the freshness of his perception gave this film a totally unexpected dimension
which harmonised greatly with the actors' freedom.
Of course, afterwards, I thought I should have made a film
that was clearly about Cybulski, make it obvious that it was about him.
I shouldn't have escaped from this,
I should have played the role of the director myself
showing how I start by reviewing the unfinished material
with him in the lead role, and not tried to camouflage this.
But I didn't have the courage to do this.
It seemed to me that I'd be going too far in terms of
the customs of the time.
Yes, but here we can think a bit differently.
It's true that he had a mouthpiece,
a director always prefers to hide behind the back of another person.
I was also afraid of how I'd act with these women.
I had nothing to be afraid of when I was directing the film
because I knew that was going to be something natural.
But there were other scenes.
I preferred to be behind the camera, but I'm not sure,
sometimes I think the film would have been clearer.
In any case, I suddenly found myself in the world of real cinema,
I rediscovered myself as a film director,
as someone who could say something about the reality that surrounded us.
I have to say that this film constituted a very important moment in my life
because it's as if it brought me back to cinema
and not just to the role of a film director who has a socio-political duty.
Suddenly, I'd made a film just for the sake of the film itself and that gave me a great deal of pleasure.
It was a great challenge for me but at the same time, a great fulfillment.
And this film, irrespective of how it was received,
sometimes better, sometimes worse.