Not long after that, Madej started to develop a project – a documentary in several parts, concerning humans’ relationships to nature. He aimed for the sky, aware that his endeavour would demand huge investments.
He decided to create a film whose characters would be people and nature, in the setting where they encounter each other most often – on the ocean shore. He wanted to sail around all of the continents within 15 years, accompanied by professional film crews, in order to tell a story about shores as places where civilisation sometimes clashes with nature, but sometimes coexists with it in perfect harmony. Places where the human being is a part of nature and, at the same time, places which constitute the biggest threat to the survival of the human race.
It didn’t terrify him that such a film would require an enormous expenditure. Just the building of a yacht , suited to the needs of a film crew and allowing for operating on seas and oceans of the world, would consume at least 5 million EUR.
To obtain the funds, he knocked on doors of world’s largest corporations – from National Geographic to Redbull. Aquarella being shortlisted for the Oscars made it easier. Madej wanted to execute his project American-style – treating it as an investment which would pay off and bring in income. To achieve that, he needed a wide audience and, naturally, big broadcasters. The European funding system, based mainly on non-returnable state grant-aid, provided no chance for executing such a large project. Hence, Madej exchanged sailor’s jackets for elegant suits and participated in most prestigious film fairs, meeting potential producers ready to provide sufficient funds. To better understand the meanders of film production, he even studied in the Wajda Film School.
Corona-obstacle