In a way, it is true, because this profession requires skilled handiwork and familiarity with the technique.
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Editing is still treated as an auxiliary creative profession. In fact, everyone learns most when working alone, by making mistakes and working independently – not by sitting with a director.”
#PRZEKLADANIEC FILM LEKTOR PL HOW TO#
I learned how to edit while working on his movies because he let me work independently. My friends were saying: ‘Look, your Wajda says that he is editing, but we never see him working with you.’ I have never commented on their remarks, however.
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Even worse, he kept saying that he does the editing himself in the evenings. However, he never recognized me and my work publicly. He even said once that no one understands him as I do. I really tried to understand and feel what he was saying. “Usually, it went like this: After shooting we went to the bar and he explained to me which effect he wanted to achieve. You worked with Andrzej Wajda on many of his best movies. Thanks to this approach the directors later asked me to share my insights and were open to my suggestions.” ‘Because you did not choose them,’ I replied. The director, when watching the trailer, asked why those shots were not in the movie. Often, however, it was necessary to do a trailer, which was my work and I always used material that I chose. “When the director selected the shots, it was sacred and I did not protest. In 2016, she received the “Gloria Artis”-the Medal for Merit to Culture awarded by the Ministry of Culture and National Heritage of the Republic of Poland.
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Ketling-Prugar also edited Knife in the Water by Roman Polanski. She edited the films of Andrzej Wajda for over twenty years, including Everything for Sale, Man of Marble, The Wedding, Landscape After Battle, and Man of Iron. Halina Ketling-Prugar began editing for Polish directors in 1958 and has fifty-one credits.