Filmmaker Michal Toczek has been busy – four of his films currently appear on T-Port, each with intersecting themes and ideas, and two featuring the same well known Polish comic actor – Sebastian Stankiewicz – in dramatic roles.
In this interview, we chat to Toczek, whose work appears on T-Port courtesy of our partners at the Polish National Film and Television School in Lodz, about shooting during lockdown, what it means to collaborate with other artists, and what he gained from the film school experience.
Professional Subscribers can check out his films: A DEAD MARRIAGE, BE SOMEBODY, ALCIBIADES, and WARSZAWA HOLANDIA.
Hi Michal! In A DEAD MARRIAGE, the production seemed very elaborate, with extras, costumes, and the illusion of a large movie set. On a student film budget, how did you manage to achieve this?
It was definitely a big challenge. On top of that, we were dealing with pandemic restrictions, which limited how many people could be on set. This was especially tricky because having a crowd of people in the background was essential for the story.
The key to pulling it off was two things: First, a fantastic production team that not only organized the extras but also made sure they were well taken care of on set. Second, extremely thorough pre-production.
We had everything mapped out in advance — storyboards, camera setups, you name it. It was all prepared down to the last detail. There was no room for improvisation (except from the actors) because we were on such a tight schedule. Every minute on set was accounted for.
So, if I had to sum it up in one word, it would be “pre-production.” That’s what made it all possible.
Where did the idea come from? How did it grow in your mind as you were writing it and how was it to work with a writing partner?
The idea came from a collaboration with Ola Hulbój, a brilliant and incredibly creative screenwriter. Since our shoot got delayed multiple times due to the pandemic, we had the rare luxury of extra time to rewrite the script.
It all started with a simple concept for the main character and a small anecdote. But from there, we wanted to go deeper and build something more substantial — something with emotional weight.
We didn’t want it to just be a quirky, funny premise. We needed it to evolve into a proper story. That process takes time. We rewrote it again and again until we reached a place of simplicity and clarity — and I think that’s what audiences connected with. Sometimes, simple ideas are the hardest to get right.
BE SOMEBODY (2023)is your solo project – how was it different to working with partners? And would you like to work as solo writer/director going forward, or work with others?
I wouldn’t say I was completely on my own. We had a bit of a collective system with my friends from film school. We were sharing our ideas and giving each other feedback. That process was super inspiring, and after those sessions, each of us walked away with a clearer vision for our graduation films.
Collaboration is something I really value — I find it difficult to come up with ideas completely on my own. But once the main idea was set, I did work on the script alone.
Luckily, the writing process wasn’t too difficult this time. I felt a strong connection to the character and his struggle, which kept me engaged. The whole thing came together fairly quickly. I firmly believe that talking to other people about your ideas helps you better understand them yourself. It sharpens your thinking and makes your story stronger.
In this film and A DEAD MARRIAGE you work with the same lead actor – Sebastian Stankiewicz – I love the way in which he portrays a vulnerable, gentle form of masculinity that seems to be explored in both films – a man suffering heartbreak, sadness, and failing to live up to grandiose expectations. How did you find this gem of an actor and what does your director and actor partnership look like?
Sebastian is a well-known actor in Poland, mostly associated with comedic roles. I’d seen him on screen plenty of times, and one day I just decided to call him up and pitch him A DEAD MARRIAGE.
It was a gut feeling, honestly. Fortunately, he was on board from the moment he heard the concept. But once I shared my vision with him — a bittersweet story that blends humor with melancholy — he got even more invested. It was a chance for him to play a type of role he hadn’t done before. Once he understood the tone I was going for, he completely got it.
He found the perfect way to tap into the emotional depth the role required. Even the crew, who knew him mainly for his comedy work, could see he was creating something entirely different on set. It was fascinating to watch.
Working with Sebastian was a joy. He has amazing taste and an incredible instinct for truth in his performances.
Music plays an important part in this film – could you tell me more about how you developed the score?
The music had a few specific goals it needed to achieve. At the start of the film, it had to establish the tone — a mix of bittersweetness and light comedy. It sets the emotional stage for the story. After that, it takes more of a backseat, appearing only as subtle accents.
Together with the composer, Jan Królikowski, we decided to keep the score as minimal as possible. We didn’t want it to be too overbearing or “loud.” It’s a short film, after all, and we felt a lighter touch was the better option.
What have you gained from the film school experience?
Film school taught me a lot. The most important things were storytelling technique and, I’d say, taste. The opportunity to make short exercises and learn from mistakes was invaluable.
Mistakes are an essential part of the learning process, in my opinion. But I think the biggest takeaway was the relationships I built. Learning from each other — from my classmates — was just as important as the formal education.
How has the process of distributing the film been for you so far? What have you learned?
It all started with film festivals. BE SOMEBODY did well on the Polish festival circuit and also screened internationally. After that, we partnered with New Europe Film Sales, a sales agent who added the film to their catalog. They took care of the rest — they managed to sell it to a few TV broadcasters.
For me, the most important thing is simply getting the film seen. I know short film distribution can be tricky, but I still believe it’s possible to get it in front of people.
What do you wish you’d known before you started making and distributing your short films?
That short films really do need to be short. I know that sounds obvious, but it’s something you only fully understand after going through the process. Shorter films fit better into festival schedules and are much more digestible for audiences.
Beyond that, I’ve realized I want to make films that I believe in. If audiences like them too, that’s a bonus. But I don’t want to compromise my creative voice just to meet distribution “requirements.”
Short films are one of the only times you have total creative freedom. I might never have this much freedom again in my career, so for me, quality is the most important thing.
What are your plans for the future? What comes next?
I’m planning to make one more short film, and I’m also developing two feature projects.
One of the great things about making my shorts is that they got me noticed by producers, which has opened the door to bigger projects.
In Poland, shorts are often seen as a stepping stone to feature filmmaking, and I’m hoping to keep that momentum going.
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