Undercurrent (2001) continued:

Director’s Statement: This is in fact my most personal film, which is probably why I have hardly submitted it to any festivals anywhere. Not smart, by I guess it's just too personal!

One of the features for me in doing this film was the honor and pleasure of having worked with an outstanding actress, Grazyna Wolszczak. Although she is quite a star in Poland, she agreed to do the film, despite my not having a budget descent enough to put her up in a hotel. (Have I mentioned yet that all my films have been made on seemingly impossible budgets and timeframes?) Instead, she stayed at the “5-star Haniska Hotel,” (AKA my apartment) which included my cooking spaghetti alfredo frequently, as it turned out to be her favorite dish. The good energy that seemed to just be there during the whole production is reflected in the fact that we weren’t sick of each other after a whole day of work and would instead chat and have fun, or sometimes just spend an evening working through next day’s scenes. Not that Grazyna needed much rehearsing. What a professional and what a sensitive artist.

The aesthetic I was going for in this film was to work in cool tones and with inhospitable modern urban environments. What I wanted to create was a “cold and damp” feeling. The actual architecture of the locations gradually goes back in time as the character, in a sense, also heads back in time to confront the past. I was inspired by Alfred Hitchcock and Michaelangelo Antonioni to use or create space that reflected the inner state of the character. This film is in fact a psychological portrait of a character, so every visual aspect had to follow suit.