Spielberg offered Polanski Schindler's List and Polanski turned it down, saying it was too close to his own childhood in the Krakow ghetto. He made The Pianist instead, nine years later, from Szpilman's memoir. The relationship reads as a correction. Schindler's List is organised around a rescuer and gives the audience someone to travel with; The Pianist refuses one, and Hosenfeld is given no speech explaining why he helps. Spielberg's film ends in gratitude; Polanski's ends with a man who survived by hiding while everyone he knew did not. Filed MEDIUM: the refusal is documented and the correction is legible, but Polanski has framed it as a subject he had to reach himself rather than as an answer to Spielberg.