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00:00Music
00:29Dear viewers, good day, this is Sunday at 2.
00:31Our guest is director Hrvoje Hribar.
00:33Mr. Hribar, good day, welcome.
00:35Good day, good to have you here.
00:37At the beginning of the show, can you promise me
00:40that you won't be acting as Zeta today?
00:45I promise.
00:47Namely, what you've been doing in the media lately,
00:52presenting your film,
00:54I have the impression that you're acting as Zeta,
00:56not wanting to offend anyone,
00:58not wanting to attract as many people as possible
01:01to watch your film.
01:03Well, I have to deal with something
01:05that is a risky burden.
01:07Our film, I have to say,
01:09has been quite successful.
01:11Success is not a pleasant thing for a Croat,
01:13and I'm trying to live with it for a while,
01:16so I'm a little careful.
01:19I'm not so careful, I'm more tired.
01:22You asked me before the show,
01:24when you were talking about your guest,
01:26you said something like,
01:28listen, Sanković, what are we going to talk about?
01:30I wouldn't want to offend my film in any way.
01:33What do you think you can,
01:35with today's guest, or some other interview,
01:37offend your film?
01:39Do you think that can happen?
01:41You can always offend a film.
01:43A film is a very sensitive thing,
01:45and this is a film that we all love so much
01:48that we maybe treat it a little like a baby.
01:52You can't say much more about the film.
01:55Tomorrow the film will have 100,000 viewers,
01:58which is an incredible result,
02:01not only for the Croatian film,
02:03but for the Croatian film network in general.
02:06We will be equal to the strongest American films
02:09from last year,
02:11but we are not yet at the end of their final result.
02:14We have only finished the third week,
02:16and the distributor told me today,
02:18Hrvoje Krstulovic,
02:20that the film will have 150,000 viewers,
02:23which is really good news.
02:25It's good news not only for my team,
02:27and not only for the Croatian film,
02:29it's good news for all the people
02:31who are busy with their jobs,
02:33like scratching cards,
02:35projecting their films into the cinema,
02:37which means that the audience
02:39is returning to the cinema,
02:41which is very important.
02:43Before we start talking about the audience,
02:46and everything that happened with your film,
02:49can you tell me something about your film?
02:52I think that you can't,
02:54that things have become so complicated,
02:57that you say that you are a homosexual,
03:00that you are a Serb,
03:02that you support Partizan.
03:04That would help the film,
03:06I think that the investigative journalism
03:09is already working in that direction,
03:12everything that could be said against me,
03:15has already been said.
03:17I protected the film in a way,
03:19I let the agile journalism
03:21to throw all their artillery
03:23at me even before the film was released,
03:26so that the film somehow
03:28started its life unharmed.
03:31When you talk about that artillery,
03:33I must admit that in the last month and a half,
03:36how long exactly has your film been released?
03:39Three weeks.
03:41So that the interview with you
03:43leads to the following sentence,
03:45Mr. Hribar,
03:47you all made a brilliant film,
03:49then you put your hands together
03:51and say, well, it's not just me,
03:53there is a team that worked on it,
03:55there are actors, we all met,
03:57we are one big family, etc.
03:59What I wanted to say,
04:01didn't it all seem a little blasé
04:03to you in the presentation of that film?
04:05Nothing seems blasé to me,
04:07I think that it is a part of growing up,
04:10and that people learn to celebrate,
04:13when something beautiful happens,
04:16and to see when something significant happens,
04:20and to know how to say,
04:22well, yes, we did that.
04:25I think that whether there will be
04:28further results from the fact
04:31that one film really succeeded,
04:34spectacularly succeeded,
04:36in Croatian cinemas,
04:38it no longer depends on me,
04:40on my team,
04:42it depends on other people,
04:44other authors,
04:46on what other people
04:48who should lead the film,
04:50will do,
04:52on whether there is a pilot in the plane,
04:54whether the state will react in some way,
04:56but in any case,
04:58for all of us who have been struggling
05:00for a very long time doing this job,
05:02it is some nice news.
05:04So, all this you do in the presentation
05:06of the film,
05:08it doesn't seem to you
05:10I have to say one thing.
05:12I have to admit that,
05:14knowing your, so to speak,
05:16public work,
05:18which is not directly related to the works
05:20that you have made,
05:22but you have, so to speak,
05:24public performance,
05:26and besides that,
05:28and these are your interviews and so on,
05:30a lot of impact from this,
05:32what you are doing today.
05:34Today you are fine,
05:36handsome, handsome,
05:38I have appeared a lot in public
05:40in my life,
05:42based on a mandate
05:44that my colleagues gave me.
05:46I appeared as the president
05:48of the Board of Directors,
05:50who communicates with,
05:52in fact, asks the public for help,
05:54to give us support
05:56in persuading blind politicians
05:58about some things that are
06:00essential to us,
06:02so that we could do our job,
06:04so that we could make our art,
06:06put it on negative.
06:08This is a completely different topic.
06:10This is about a film
06:12in which I put something
06:14authentically mine on negative,
06:16and this is something
06:18in which I can be intimate,
06:20in which I can be my own,
06:22in which I no longer think
06:24about the opponent,
06:26where I no longer fight for anything,
06:28but simply...
06:30Except for the audience.
06:32I speak calmly,
06:34and I don't feel bad, I have to say.
06:36Do you like Edo Majka?
06:38Yes.
06:40Edo Majka says in an interview
06:42with Črnjak Prekičar,
06:44talking about his work
06:46and what he is doing on the board,
06:48he says,
06:50I care about my business,
06:52but whether my three friends
06:54or everyone around me will understand it,
06:56it doesn't matter to me anymore.
06:58I don't want to change anyone's mind,
07:00I just want to take mine.
07:02I think he experiences his work
07:04much differently.
07:06He says he doesn't want to
07:08be a part of anyone,
07:10he doesn't like anyone,
07:12he really cares about whether
07:14someone will want to see
07:16what I sing,
07:18except for my three friends.
07:20We'll see Edo Majka
07:22when he gets an Emmy,
07:24or something like that.
07:26We had that Edo Majka phase
07:28when we were making the film.
07:30We didn't calculate much
07:32when we were filming it.
07:34When we were editing the film,
07:36we didn't know
07:38whether it was an art film,
07:40a comedy,
07:42whether we were suppressing
07:44Tomić's humor by making a melodrama,
07:46or not.
07:48While we were making the film,
07:50we had a very similar attitude.
07:52Tell me, what is the difference
07:54between you and Edo in the experience
07:56of your production?
07:58You say, no,
08:00you want 100,000 viewers,
08:02or 150,000.
08:04I didn't say I wanted them,
08:06I got them.
08:08We got them because the audience
08:10wanted it.
08:12We only manage the event.
08:14We try to get the best out of it.
08:16Wouldn't you be glad
08:18if you had 5,000 viewers?
08:20No, that would be a big mistake,
08:22because
08:24Jantin Roman
08:26unexpectedly
08:28lost control.
08:30He became a hit.
08:32I agreed with him
08:34to screen the manuscript
08:36before the book was published.
08:38The book was published
08:40and it became a hit.
08:42If you screen a book hit,
08:44if the film is not a hit,
08:46it is not a good job.
08:48How to make a hit?
08:50In Croatia,
08:52when the cinema network is decimated,
08:54when they control everything
08:56in the big American studios,
08:58it's a piece of cake.
09:00It was a bad job
09:02and something had to be done
09:04about it.
09:08Everything that was done
09:10around this film
09:12to make it popular
09:14was suddenly noticed
09:16in a cinema
09:18where we forgot
09:20to promote films.
09:22Every film has a systematic effort
09:24to be promoted.
09:26It's like asking
09:28why a car has lights,
09:30why a gun has a sight.
09:32In a film, promotion is a part of the film.
09:34Do you know when was the first projection
09:36of a film in history?
09:38In a café in Paris in 1995.
09:40Do you know what was left
09:42of that projection? A poster.
09:44The first projection in the world
09:46already had a poster.
09:48A film must have a poster.
09:50I'll ask Edo
09:52when he gets the award.
09:54Does it mean that
09:56a man with years of experience
09:58comes up with an idea
10:00how to do things
10:02in his job?
10:04He's young,
10:06so he can be an idealist.
10:08I'm worried about the audience.
10:10My three friends are important to me.
10:12Edo's mother is doing very well.
10:14I mean,
10:16Edo's mother?
10:18Yes.
10:22How do you rate your film?
10:24I love it.
10:26One day I'll watch it
10:28from a distance.
10:30It's good that you made it.
10:32You're satisfied with the film.
10:34We're not talking about the audience.
10:36I think that I made it
10:38on behalf of all the actors.
10:40I think I managed
10:42to stay up to date
10:44with the films I made before.
10:46I think I managed
10:48to stay up to date
10:50with the films I made before.
10:52I think I made a film
10:54that communicates
10:56and goes further
10:58than I did before.
11:00What's old in that film
11:02and what's new in that film
11:04satisfies me.
11:06Your colleague Djordje Čočić
11:08made a six and a half minute clip.
11:10Of course,
11:12it's about your film.
11:14It's about the situation
11:16in Croatian cinema.
11:18A six and a half minute clip.
11:20What's a film hit today?
11:22What's a man without a beard?
11:28Beards are coming.
11:30A crowd like this
11:32was last seen
11:34ten years ago
11:36because of Vinka Brešan
11:38and the movie
11:40How the War Began on Momotok.
11:42The movie was seen
11:44by more than 70,000 people.
11:46Hrvoje Hribar achieved
11:48more than 70,000 views
11:50in three weeks.
11:52If we take into account
11:54the number of domestic films
11:56in cinemas,
11:58according to which
12:00only 400 people
12:02saw the movie,
12:04it's inevitable to ask
12:06what Hribar's secret is.
12:08Our directors finally realized
12:10that it's a secret.
12:12I watched it at 5 p.m.
12:14and got the last card.
12:16Everyone came.
12:18There was a lot of cinema.
12:20No one laughed.
12:22There was a lot of cinema
12:24on Fridays.
12:26Why did people
12:28change their favorite
12:30remote control
12:32for cinema tables?
12:34Why did you decide
12:36to make the movie?
12:38First of all,
12:40it's very interesting.
12:42There's a lot of propaganda.
12:44It's our movie.
12:46Secondly,
12:48it's a subgenre
12:50that's close to us.
12:52I've heard it's a good movie
12:54and the actors like it.
12:56What do you expect from the movie?
12:58To relax a bit.
13:00Why exactly that movie?
13:02I don't know.
13:04They say it's good.
13:06After 16 minutes of the movie,
13:08we ask if it was just good propaganda.
13:10What do you think of the movie?
13:12It's good.
13:14It's original.
13:16It's sincere.
13:18It's very good.
13:20It's beautiful.
13:22Everything is beautiful.
13:24It's fun.
13:26What did you like the most?
13:28Everything.
13:30The tone, the camera, the actor.
13:32It's perfect.
13:34It's a good movie.
13:36It's a good movie.
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16:40It's a good movie.
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16:44It's a good movie.
16:46It's a good movie.
16:48It's a good movie.
16:50In the last three years,
16:52the film industry has seen
16:54a continuity of good domestic films.
16:56a continuity of good domestic films.
16:58I think that a movie
17:00differs from a film.
17:02I think that a movie
17:04differs from a film.
17:06The film industry
17:08is less interested in politics.
17:10We, the filmmakers,
17:12know how to use it.
17:14With increased production
17:16and independent production,
17:18the number of cinemas
17:20decreased from 400 to 90.
17:22the number of cinemas
17:24decreased from 400 to 90.
17:26Regardless of everything,
17:28in the atmosphere of American colonialism,
17:30which prevailed in the cinemas,
17:32it is almost unbelievable
17:34that a naked man
17:36ruled over a powerful king kong.
17:44We saw an excerpt from Mr. Hribar.
17:46Was there a movie
17:48in which Hribar and Tomić
17:50were Orthodox Christians?
17:54First of all, I have to thank you
17:56for showing Ivan Starčević on TV.
17:58I didn't even know
18:00what that man looked like.
18:02He has that photo.
18:04Now some things are clearer to me.
18:08No, Tomić and Hribar
18:10are Orthodox Christians.
18:12Let's stick to Starčević.
18:14Do you think
18:16that you are the last man
18:18who would propagate
18:20some theories of that kind?
18:22Now everything is clear to me.
18:24I don't like that man.
18:26I think he is corrupt.
18:28I think he is a fascist.
18:30I think he is a racist.
18:32I think he speaks the language of hatred.
18:34I think your department
18:36should have some hygiene measures
18:38against people who behave
18:40like that in the Croatian media space.
18:42You asked me a lot of questions.
18:46Ivkošić is much nicer.
18:50We will talk about Ivkošić.
18:52All guests who label me
18:54with epithets such as racist,
18:56fascist and so on,
18:58I warn them not to hurt other people.
19:00So I will ask you
19:02not to use this opportunity
19:04not to talk about people,
19:06but to talk about topics.
19:08Racism and fascism
19:10are clear diagnoses.
19:12If someone speaks the language of hatred,
19:14if he accuses another person
19:16because of nationality,
19:18your second question
19:20about nationality
19:22means that he behaves
19:24in a way that is not
19:26in accordance with the norms
19:28of public behavior.
19:30I just came from the label
19:32not to talk a lot.
19:34But let me say
19:36that Tomić and Hribar
19:38are talking about a maze
19:40of a Catholic environment.
19:44We just became aware
19:46that this film is almost
19:48a god of fear.
19:50He talks about a priest
19:52who believes in God
19:54from the beginning to the end of the film,
19:56who has a little problem
19:58with his work organization.
20:00This is a Catholic church
20:02as it is, but this is
20:04a deep film of a Catholic world.
20:06I see that you took that criticism
20:08quite seriously.
20:10Maybe Ivkošić was joking.
20:12I am the only gentleman
20:14who took it seriously.
20:16If the priest was an Orthodox,
20:18he would not have this problem.
20:20Ivkošić cannot be taken
20:22particularly seriously.
20:24Although he is an interesting person,
20:26he fantastically
20:28points out his two or three theses
20:30about anti-globalism,
20:32about global treachery
20:34in Croatia.
20:36He always has the same answer
20:38on every question,
20:40although he is doing well
20:42to this day.
20:44You mentioned that this film
20:46is a god of fear.
20:48Some people said
20:50that you wanted to ridicule
20:52Catholicism with this film.
20:54I mean, you can do everything
20:56as an artist.
20:58You are laughing now,
21:00but it is not illegitimate
21:02to laugh at anyone.
21:04I did not say what I wanted to do.
21:06In small circles, comedy
21:08is always risky.
21:10In a way,
21:12the reception of this film
21:14includes the moment of the church,
21:16the moment of politics,
21:18the moment of the army,
21:20the moment of patriotism.
21:22The novel itself is a lot
21:24more satire than the film itself.
21:26The film somehow brought
21:28the main drama conflicts
21:30but the fact is that
21:32the way in which
21:34the Croatian public
21:36slips through the cracks
21:38without a lot of
21:40flicking from the side
21:42says that we are really
21:44an all-normal nation.
21:46I think that this film
21:48is not just my praise,
21:50but the facts that happen
21:52in this film.
21:54The life of this film
21:56about the Croatian public
21:58is not a joke.
22:00People watch this film.
22:02This film did not fall from the sky.
22:04It stands on the shoulders
22:06of this new wave.
22:08What is happening
22:10in the Croatian film
22:12in the last 4-5 years
22:14cannot be explained
22:16by the generation.
22:18The people of all generations
22:20came with good films.
22:22It cannot be explained
22:24by the aesthetics.
22:26The second thing
22:28this film is based on
22:30is the Vlach genre.
22:32This is something
22:34that exists in our tradition.
22:36This film does not come
22:38from my or Tomic's head
22:40but from our community.
22:42Why do you criticize this film?
22:44I think that
22:46a television critic
22:48who writes something
22:50in his magazine
22:52is not a critic.
22:54I like the analysis
22:56written in the domestic
22:58and foreign press.
23:00So you only respect
23:02what you like.
23:04If someone lies,
23:06I do not respect that.
23:08I respect what I can understand.
23:10There are people who lie
23:12about their impressions.
23:14They did not say
23:16that you are without a beard
23:18and moustache,
23:20but that your film is bad.
23:22They say that
23:24if they do not
23:26go against you.
23:28Stanković, you will get
23:30a cactus from Starčević
23:32if you do not
23:34treat him like that.
23:36If Starčević is here
23:38and insults you
23:40I would warn him.
23:42Let's talk about
23:44a man with or without a beard.
23:46Let's talk about you.
23:48I have no problem
23:50with insulting
23:52a man who hurts others.
23:54Let's stop talking
23:56about that guy.
23:58You started talking about him.
24:00I did not.
24:02You continued.
24:04I did not continue.
24:06I do not allow people
24:08to insult each other.
24:10I would warn people
24:12who do that.
24:14There are some basic rules
24:16of decency
24:18You are talking about
24:20a guy who insulted
24:22a critic
24:24who said
24:26that the film is good.
24:28He insulted him.
24:30I think he does not work
24:32on TV anymore.
24:34He had no idea
24:36what the film was.
24:38You are talking about
24:40a guy who insulted
24:42my actress
24:44because of
24:46insulting her.
24:48I do not allow that.
24:50Let's go back to the film.
24:54There is another thesis
24:56which is against the film.
24:58You mentioned
25:00the genre of the film
25:02Vlach.
25:04There are people
25:06from that region
25:08who say no.
25:10It is a joke.
25:12It is a joke.
25:14Anti-Roman is happening
25:16somewhere in Vlach.
25:18Anti-Roman is happening
25:20very clearly.
25:22It is predetermined.
25:24It is happening
25:26in the vicinity of Imotsk.
25:28I intentionally placed it
25:30in a different,
25:32abstract Vlach,
25:34in the Podvelebit village
25:36which is marked
25:38with a vignette.
25:40It is a village
25:42where people were
25:44pointing fingers
25:46and saying
25:48no, it is not like that.
25:50I tried to place it
25:52in a different Vlach,
25:54in a cinematic Vlach,
25:56in a film Vlach,
25:58in a way to remind
26:00our film audience
26:02of that region
26:04and to use it
26:06as the only Croatian film genre
26:08in which some things
26:10are happening in the vicinity
26:12of a village priest.
26:14There are some expectations.
26:16You don't have to make a scene.
26:18You don't have to waste time.
26:20You can immediately
26:22go to a movie set.
26:24You can immediately
26:26build something further.
26:28We talked about your film
26:30before the show
26:32and I told you that
26:34I personally think
26:36that the film is good
26:38but I don't agree with what you said
26:40about Stanković.
26:42No, no.
26:44Everyone has the right
26:46to see in that film
26:48what he sees,
26:50good or bad.
26:52I am sure
26:54that with this number of viewers
26:56you can't expect
26:58everyone to fall in love with the film
27:00and be delighted with it.
27:02I just don't like
27:04when people are evil towards it.
27:06I don't like it.
27:08There are people
27:10that I love
27:12and there are people
27:14that I don't like.
27:16I don't have any problem with that.
27:18What is the audience rating
27:20for the film?
27:22Is it good or bad?
27:24The film is art
27:26and there are no criteria
27:28for art.
27:30The ultimate criterion is the heart.
27:32If you run a movie
27:34or make a public system
27:36then you have to have
27:38some criteria.
27:40There are more than one.
27:42If you are thinking
27:44about giving someone
27:46new money to do something,
27:48then you look at the audience,
27:50at the festivals,
27:52at the awards he got.
27:54There are more than one criteria.
27:56There are films that
27:58don't play for the audience
28:00and that is completely legitimate.
28:02The problem of the Croatian film
28:04was that,
28:06according to our definition,
28:08the Croatian film is not
28:10aesthetically very brave,
28:12not very radical.
28:14Since Vinko's success in the 90s
28:16there has been a massive
28:18attempt to communicate
28:20with the audience.
28:22It was very difficult,
28:24but not because of the quality of the film,
28:26but because of the environment.
28:28Why is it not brave?
28:30The Croatian film
28:32cannot be brave.
28:34There are different types of bravery.
28:36I think that the film,
28:38I will praise my film again,
28:40I will be antipathetic.
28:42This film is brave in one way
28:44and emotively sincere.
28:46That is something that is very hard for the Croats.
28:48It is really brave.
28:50But why is the Croatian film
28:52politically not brave?
28:54It is not because it is a state cinema.
28:56You have a lot of control mechanisms.
28:58If you want to go to the ministry,
29:00which is a political body,
29:02you have to go through the public television,
29:04which is not a political body.
29:06But you have your public opinion
29:08and you have a mentality
29:10among Croatian artists
29:12which is not very radical.
29:14You say it is brave,
29:16but did you yourself
29:18assume that it is a line
29:20of less resistance?
29:22I will quote one of your statements.
29:24You say,
29:26you made a film about Vlaškoj,
29:28but you say,
29:30that in that Vlaškoj,
29:32people are simply Ustashas,
29:34if they are not partisans,
29:36because everything is either-or.
29:38Ustashtvo is not funny to me
29:40and I did not want to meddle there.
29:42Would it be brave to meddle
29:44not in this film,
29:46but in another?
29:48Or is it a line of less resistance?
29:50No, I'm just going to make people laugh,
29:52and what bothers me,
29:54you know,
29:56when the Second World War ended,
29:5850 years ago,
30:00there was no courage
30:02to meddle in that mess.
30:04Courage or not courage,
30:06what interested me,
30:08was to experiment a little
30:10with love.
30:12It was a terrible pleasure
30:14to enter that scene.
30:16You have now come to the demagogy,
30:18because when you tell me
30:20that the war ended 50 years ago,
30:22it does not seem to me
30:24that the war ended exactly
30:26in the same year.
30:28When it ended 60 years ago,
30:30it ended.
30:32However, since that war,
30:34the classic division
30:36that is not even ideological,
30:38but you yourself say,
30:40maybe it is traditionally
30:42imposed on the Ustashas
30:44and the partisans.
30:46Traditionally?
30:48How did that army
30:50end up in that chaos?
30:52It's chaos.
30:54You only found two Ustashas
30:56to speak against me.
30:58That means we are becoming
31:00a normal country.
31:02That becomes an unimportant question.
31:04And the Croatian man is sorry
31:06when that question becomes unimportant.
31:08I know you like drama,
31:10but that question
31:12becomes unimportant.
31:14That's what this film is about.
31:16Could you please
31:18stop calling people
31:20by their first and last names
31:22in this show?
31:24That way they are called
31:26Hrvoje Hribar,
31:28Milan Ivkovičić, and so on.
31:30We can talk about the topic,
31:32but seriously,
31:34I have to admit,
31:36if you do that a third time,
31:38I will cancel the show.
31:40Why didn't you accept the topic?
31:42Why don't I care?
31:44I'm talking about...
31:46We have to stop
31:48dealing with that.
31:50We have to start dealing
31:52with more important things.
31:54I'm talking about that
31:56and my damned film.
31:58That love is more important
32:00than Ustasha and Partizan.
32:02That's cretanism.
32:04Someone is making money
32:06on that.
32:08We are a people
32:10that is doing well.
32:12We are a people
32:14that can move forward.
32:16That is doing well.
32:18I don't want to know
32:20what you said before.
32:22I would be
32:24a little bit
32:26uninterested,
32:28but I have to be surprised
32:30when you say that today.
32:32You are very active
32:34in the world view
32:36that dominates or
32:38does not dominate in Croatia.
32:40That world view is clear
32:42and that is part of Partizanism.
32:44You often talked about that
32:46and warned about it
32:482000 years ago
32:50to people that are close
32:52to that world view.
32:54You asked them to stay away
32:56from the film.
32:58You could fire
33:00Jakov Sedlar
33:02because of his film.
33:04Agitprop is a certain idea
33:06that you don't like.
33:08Let's leave Jakov Sedlar.
33:10Let's leave him alone.
33:12Nothing bad about Jakov Sedlar.
33:14Please.
33:16I am talking about you.
33:18You are relatively active in society.
33:20You are not a member
33:22of any political party,
33:24but you talk about
33:26what bothers you.
33:28It is not only about
33:30your work as a director.
33:32Tempi passati.
33:34It is not about
33:36that I changed
33:38or that it is better.
33:40It is about politicians
33:42not having the power
33:44they used to have.
33:46It is about the past
33:48going crazy.
33:50It is about new
33:52and different experiences.
33:54It is about not having
33:56to correct the mistakes
33:58of the past.
34:00Maybe if we go back
34:02to those times
34:04I would not correct them
34:06but there are some
34:08who could say
34:10they are brave
34:12in dealing with these issues.
34:14For example, Svjedok made a mistake.
34:16He had a lot of...
34:18For example, Vinko.
34:20Vinko is the bravest
34:22in what he did
34:24and the biggest thing
34:26he did for his people.
34:28He made
34:30War on Momotuk.
34:32It was a sale of freedom
34:34thanks to his talent
34:36thanks to a great man
34:38Ivo Števičić
34:40who said
34:42I will protect you.
34:44A man of authority.
34:46It is a big thing.
34:48Suddenly,
34:50cinema came to life.
34:52The state acted quickly
34:54efficiently but in a wrong way
34:56and established
34:58a mechanism
35:00that financed and controlled movies.
35:02At the end of the 90s
35:04a big upheaval
35:06took place.
35:08All those movies
35:10that were intended for the audience
35:12and now we have
35:14a big mistrust
35:16that we have been controlling
35:18for so long.
35:20It was a great courage.
35:22When you make a movie
35:24and show it to the public
35:26someone will not like it.
35:28Vinko was attacked
35:30to show Croats.
35:32Some liberals told him
35:34to reduce the number of Croats.
35:36It is a delicate thing
35:38to get into
35:40those painful wounds.
35:42I think they did it
35:44in a great way.
35:46We can say that you are not interested
35:48in those painful wounds.
35:50Your sphere of interest is something else.
35:52My sphere of interest, my job
35:54was to make anti-Roman.
35:56I made a movie.
35:58I made a new movie.
36:00I finished one episode
36:02of my life.
36:04It is called
36:06Men Without Beards.
36:08What will I do next?
36:10We will talk about it
36:12if you have any suggestions.
36:14I don't remember anything.
36:16I will leave it to you.
36:20Do you have
36:22a positive review
36:24or euphoria
36:26of your new movie
36:28Men Without Beards?
36:30What is the connection
36:32with the people
36:34who followed the shooting
36:36of the new era?
36:38Not only the shooting
36:40but also the perception
36:42of people after the new era.
36:44Did it have any connection?
36:46Did it have any kind of
36:48interdependence?
36:50Look,
36:52when you read about it
36:54it is hard to recognize
36:56yourself in both.
37:00Before Split premiere
37:02two weeks ago
37:04they called me in Radio Dalmacija
37:06for an interview.
37:08I came there and looked up
37:10and saw Kotex Nebodar.
37:12It is the place where we
37:14shot the new era.
37:16My first impression
37:18was a big smile.
37:20We all remember that
37:22happy moment.
37:24Of course, it was ordered.
37:26The series was not as good
37:28as we promised it would be.
37:30A lot of mistakes were made.
37:34I can't believe
37:36that feeling in Vara's body.
37:38It is not a bad series
37:40as it was written.
37:44If it wasn't for the new era
37:46there wouldn't have been
37:48this movie.
37:50I took Antin Roman
37:52for the shooting of the new era.
37:58The other thing is
38:00that I developed
38:02some organs of defense
38:04by looking at the consequences
38:06of the series
38:08and I put it in the movie
38:10I am talking about today.
38:12How did you accept
38:14the criticism
38:16that most of you
38:18didn't like?
38:20What did you think?
38:22What do I know?
38:24Who didn't like the new era?
38:26The series about the journalists
38:28in Split.
38:30It was a very
38:32unusual experience.
38:34Some young journalists
38:36who work
38:38in the sector
38:40called TV criticism
38:42sometimes explain
38:44to the students
38:46that it was interesting.
38:48It was an interesting experience.
38:50Did you ever think
38:52that you are a total idiot?
38:54I thought about it
38:56many times in my life
38:58but never on the open news.
39:00Did you ever
39:02after those
39:04reviews that
39:06didn't come
39:08only from unrealized
39:10journalists?
39:12No, no.
39:14There were people
39:16who wrote
39:18bad reviews
39:20about you.
39:22There were people
39:24who wrote bad reviews
39:26about you.
39:28My question is
39:30did you ever think
39:32that you are a total idiot?
39:34No, I didn't.
39:36We are talking
39:38about a movie
39:40for which I wrote
39:42and directed.
39:44The new era
39:46is a series
39:48that I didn't produce.
39:50I didn't write
39:52a script for it.
39:54I can hide
39:56my direction
39:58in the success
40:00or failure of that series.
40:02I choose the actors.
40:04That was my job.
40:06Knowing the production
40:08in the 90s
40:10I know for sure
40:12that the new era
40:14is not that advanced
40:16in quality.
40:18Sandro Poguc
40:20my colleague
40:22asked you
40:24in an interview
40:26if that means
40:28that you are
40:30solving
40:32a ballast
40:34between
40:36Baretić and Ivan Išević
40:38No, it doesn't.
40:40It doesn't.
40:44I would like
40:46the Croatian TV
40:48to reprise that series
40:50so we can watch it again.
40:52Let's see what people
40:54have to say about that series
40:56after 4 or 5 years.
40:58I think it will never be
41:00as big an attraction
41:02as it was then.
41:04But it can't be
41:06as big as it was then.
41:08I believed in that series
41:10when I was filming it.
41:12I said, OK,
41:14I'm going to do it.
41:16My heart is open.
41:18We're going to do it.
41:20We'll see what happens.
41:22In your analysis
41:24why didn't it happen
41:26as you expected?
41:28You said
41:30we were constantly bragging
41:32that the media was full
41:34of lies.
41:36Do you think it's a bad service
41:38to the product
41:40to be sold to the audience?
41:42Yes, I think so.
41:44I think the voice
41:46of that series
41:48went too far,
41:50it was too strong
41:52and something was wrong.
41:54Did the ending
41:56of the story
41:58result from
42:00you fighting
42:02with your
42:04unjudged screenwriters?
42:08I didn't fight with her.
42:10It's a stupid
42:12and ugly
42:14male story
42:16between us.
42:18What happened was
42:20that we demonstrated
42:22that project
42:24and together
42:26we entangled the court
42:28in a difficult way.
42:30That's something
42:32that happens
42:34between artists.
42:36Sometimes
42:38if a feminist
42:40wrote about that
42:42it would be the most competent
42:44to tell that story.
42:46It was a story about
42:48men's stupidity.
42:50Both sides?
42:52Both sides.
42:56After that
42:58did you send
43:00messages to the court?
43:04No, it started
43:06at the court.
43:08We never argued about anything.
43:10It was my fault
43:12that I didn't
43:14pay enough attention
43:16to my friends.
43:18They were in Split.
43:20I was finishing a film
43:22in post-production
43:24and then the court
43:26sent me a message.
43:28For those who don't know
43:30it's about you
43:32hiring Mr. Albaretec
43:34to make a screenplay
43:36for a film.
43:38You were dissatisfied
43:40and you paid half of the fee.
43:42Well said.
43:44They had some further obligations
43:46that they didn't fulfill.
43:48The main problem
43:50was that
43:52the whole thing
43:54went to the court.
43:56There was pressure
43:58on the Pula Film Festival.
44:00Some things
44:02that can only happen
44:04in our country.
44:06Is it necessary
44:08for a good writer
44:10to be a good screenwriter?
44:12In your case
44:14you decided
44:16to make a screenplay
44:18after you were dissatisfied
44:20with what you were offered.
44:22A good writer
44:24can't be a good screenwriter.
44:26It's the opposite.
44:28Writing a screenplay
44:30is a servant's job.
44:32It's unattractive
44:34and difficult.
44:36When you write a good screenplay
44:38it's an opportunity
44:40for the director
44:42to ruin it all.
44:44Writers like to pay
44:46a lot of attention
44:48to the script
44:50and screenwriters are
44:52very rare among us.
44:54It's not a shame
44:56when a good writer
44:58can't deliver a good script.
45:00Most of the scripts
45:02are never good.
45:04A very small script
45:06ends up in a movie
45:08and too many end up in a movie.
45:10Do you think
45:12Ante Tomic can get rich
45:14with his screenplays?
45:16We saw that Rajko Grlić
45:18told Ante Tomic
45:20to retire.
45:22It's unacceptable.
45:24Karaula is coming
45:26with Brkovi.
45:28I hope that Karaula
45:30will continue
45:32where Brkovi stopped
45:34and will be the next
45:36well-watched movie in cinemas.
45:38Ante Zbilja is very lucky
45:40and no one is lucky
45:42if they don't deserve it.
45:44He seems to deserve it.
45:46In the last two years
45:48which movies
45:50are better than yours?
45:52I haven't seen any
45:54but I've seen a lot of movies
45:56that I really like.
45:58In the last five years
46:00good things are happening.
46:02Now...
46:04How do you know that
46:06you haven't seen them?
46:08I've seen them.
46:10I've seen which one is better than mine.
46:12Split Night is a great movie.
46:14Kung-Fu is a great movie.
46:16Sjedocit, Ozarinka, Ogrest
46:18are great movies.
46:20There are some
46:22very interesting young people
46:24like Nuvić who is coming
46:26with a movie this year.
46:28Dizdar, Kristi,
46:30Milić, Snježana Tribuson
46:32are appearing.
46:34She has the keys
46:36to our mainstream.
46:38It's very important
46:40that someone keeps
46:42a secret.
46:44Žir Radić has made
46:46a great movie.
46:48It's surprising.
46:50I wish him all the luck.
46:52The movie is still
46:54going around festivals.
46:56We're happy here and there.
46:58It was great.
47:00Žir's movie was in Sarajevo this year.
47:02Sviličić's movie was there.
47:04My movie was there.
47:06We've created a myth
47:08that Croats make great movies.
47:10Sviličić's movie was a sensation
47:12at the beginning of the festival.
47:14We've created a great atmosphere
47:16at the end of the festival.
47:18A lot was written.
47:20At least what is called
47:22a region was expected
47:24from a Croatian movie.
47:26We're going to Belgrade
47:28for a festival, Sviličić and me.
47:30In February.
47:34Let's talk about the movie
47:36that you accidentally stopped.
47:38The movie that was
47:40the most watched movie
47:42in the last 5 years
47:44is Vrdoljak's movie.
47:46What do you think about that movie?
47:48Vrdoljak did a great job
47:50as a director on the set.
47:52It looks like
47:54an American television movie
47:56from the 70s.
47:58It's a well-written movie.
48:00However,
48:02that movie is important for Croatia.
48:04It's important because Vrdoljak
48:06didn't stop making movies
48:08and let other people
48:10do their job.
48:12A lot of important things
48:14happened in the Croatian movie
48:16from 2000 to today.
48:18I'm going to
48:20update the phrase
48:22that your colleague
48:24Ostojić mentioned.
48:26It's not bad,
48:28but we all repeat it.
48:30When the movie
48:32moved away from politics,
48:34did it become better?
48:36I hope
48:38that the movie
48:40moved away from politics.
48:42In any case,
48:44the times are simpler.
48:46It's great
48:48that a lot of politicians
48:50came to my premiere
48:52as regular viewers.
48:56Prime Minister Sanader
48:58didn't come to the premiere.
49:00He went to the cinema
49:02with his wife
49:04and two bodyguards.
49:06Two middle school girls
49:08came to him and told him
49:10to sit down.
49:12Then he moved
49:14from the left to the right
49:16and watched the movie.
49:18I hope
49:20that things
49:22will become normal.
49:24How much money
49:26was invested in your movie?
49:28Do you want to return
49:30the money invested in it?
49:32No, no European movie
49:34returns the money
49:36invested in it,
49:38except for commercial productions
49:40in Italy, Spain and France.
49:42European movies
49:44are mostly made
49:46of public subsidies.
49:48My movie
49:50invested exactly
49:525,100,000 Kuna
49:54from tax payers
49:56and television taxpayers.
49:58The rest of the money
50:00was collected by sponsors
50:02and not by
50:04commercial investments
50:06of various co-producers.
50:08It's about 10%
50:10of the budget
50:12of the movie
50:14you mentioned.
50:16I still have
50:18financial problems
50:20with this movie.
50:22I intended
50:24this movie
50:26to be a cinemascope
50:28with special effects
50:30in that fantastic rabbit.
50:32It was quite risky
50:34to go on that adventure
50:36with a Croatian budget.
50:38The Ministry of Foreign Affairs
50:40lowered the budget
50:42and I had a Bulgarian budget
50:44to make a Croatian European movie.
50:46I'm still in some imbalance
50:48and I believe
50:50that everything
50:52that happens with the movie
50:54will be covered.
50:56What does it mean
50:58that you won't have any debts
51:00and the budget won't be God knows what?
51:02It means that I won't have any debts
51:04and I will start
51:06the next movie with clean hands.
51:08It's a great thing.
51:10You have to know how I survived
51:12the last year.
51:14It's a miracle.
51:16What does the everyday life
51:18of a director look like?
51:20I don't know if he makes a movie
51:22Do you have to do
51:24some other jobs
51:26to have a monthly income
51:28or can you afford
51:30to live the next two or three years
51:32from the estimated earnings?
51:34No, I live on a loan
51:36for a long time.
51:38I couldn't even pay
51:40my fees for the script
51:42that I wrote.
51:44It doesn't mean that
51:46Croatian directors are
51:48at the bottom of the social ladder
51:50but they live an intensive
51:52and not cheap life
51:54and they are not special.
51:56Tell me,
51:58lately since we produce...
52:00We do some commercials
52:02Since we produce
52:04some soap operas in Croatia
52:06more or less
52:08the actors' salaries
52:10are known.
52:12How much does an actor
52:14earn in a male role
52:16without any debts?
52:18How much do you earn?
52:20How much do you pay?
52:22They have a salary
52:24per day of filming
52:26or per week of filming
52:28if it's a big role.
52:30The main role is
52:32closer to the figure
52:34of 15,000 euros
52:36and you have to know
52:38that
52:40in the male role
52:42without any debts
52:44the actors worked
52:46two months on the set
52:48and it's a huge job.
52:50It's a job
52:52for which every honorary
52:54is too small.
52:56I asked you
52:58if you do any other jobs
53:00I will remind you
53:02that you have
53:04a commercial campaign
53:06for SDP
53:08and HSLS
53:10I noticed that
53:12you will be very happy
53:14Do you experience
53:16as a regime leader?
53:18Which regime?
53:20Which regime?
53:22Somehow
53:24we were
53:26terribly
53:28most of the people
53:30from the film business
53:32we had a big illusion
53:34that this new government
53:36after the change
53:38will improve things
53:40in the film
53:42some solution
53:44but nothing happened
53:46and it was a big lesson
53:48to stay away from politics
53:50I did the campaign
53:52for them professionally
53:54and with Zrinko
53:56Zrinko was working
53:58for HDS
54:00and we were in the campaign
54:02for the competition
54:04for the competition
54:06however
54:08we cooled down very quickly
54:10Zrinko made his best
54:12one of the most important
54:14Croatian films
54:16Could it happen
54:18to do a campaign for HDS?
54:20Or did you do something
54:22that was closer to you?
54:24Could it happen then?
54:26No, it could not happen
54:28then we all waited
54:30we waited for the change
54:32there was no chance
54:34to work for HDS
54:36One glory question
54:38No, no glory question
54:40You said that you like to appear
54:42in women's magazines
54:44I know, in women's magazines
54:46there are beautiful women journalists
54:48The question is
54:50I did not make it up
54:52more people asked you
54:54more colleagues
54:56that you engaged in your film
54:58two loves of your life
55:00former and present
55:02does it work?
55:04Yes, I mean
55:06We are Balkan, what else?
55:08I am lucky
55:10that both of them
55:12are great actresses
55:14one of them is a big star
55:16Mara came from Split
55:18in a man's night
55:20with Michael's award
55:22for the best actress in the region
55:24they are great actresses
55:26and very close to me
55:28I know them very well
55:30I am close to actors
55:32and getting to know them
55:34in making this film
55:36writing the script
55:38practicing this film
55:42Have you ever wished to be
55:44someone else
55:46not Hrvoje Hribar
55:48many will say
55:50self-indulgent
55:52I wished to be Hrvoje Hribar
55:54who is engaged in other jobs
55:56lives in other countries
55:58I will remind you
56:00we talked about marketing
56:02I am used to be Hrvoje Hribar
56:04we talked about marketing
56:06in your film
56:08you said
56:10we live in an irritating civilization
56:12that teaches us
56:14to be someone else
56:16the world of marketing
56:18teaches us
56:20to be someone else
56:22not to have enough muscle mass
56:24not to have a big penis
56:26not to have a strong chest
56:28and so on
56:30how do you behave?
56:32how do you behave?
56:34how do you behave?
56:36wishing to be someone else
56:38I think
56:40your quote is very good
56:42I am glad I said that
56:46we live in an unnatural world
56:48I don't know what was the context
56:50we talked about that
56:52for me
56:54my thoughts go to Istimlin
56:56I think
56:58Croats
57:00in their film
57:02are a kind of small resistance
57:04to be fed
57:06with those things
57:08that come out
57:10of the big corporate pool
57:12now
57:14one test for you
57:16let's stick to this topic
57:18that we are talking about
57:20do you have pimples or not
57:22you mentioned
57:24that we want bigger this
57:26bigger that
57:28bigger muscle mass, bigger penis
57:30we have semi-pimples
57:32like we are in a iron shape
57:34did you wish
57:36you mentioned penis
57:38did you wish that
57:40did you submit to that influence of marketing
57:42you say we all
57:44submit to that influence
57:46yes
57:48who didn't wish a bigger penis
57:50in 13 or 14 years
57:52for sure
57:54social health
57:56depends on
57:58that wish
58:00and we are
58:02like many other social communities
58:04terrorized by men
58:06who never made peace with that
58:08I have to admit
58:10that you are a real agramer
58:12a real man with pimples
58:14I would say
58:16that he is more than satisfied
58:18men lie all the time
58:20I don't know if I ever
58:22and what
58:24a man is everything
58:26in life
58:28when he reaches 40
58:30he has to turn
58:32thank you
58:34I can't leave you
58:36I have to talk to people
58:38for disqualification
58:40that you mentioned
58:42dear viewers
58:44that was all
58:46thank you for talking
58:48absolutely
58:50something that
58:52sounds like a phrase
58:54I won't allow
58:56anyone to say that he is a fascist
58:58don't
59:00fascist
59:02thank you dear viewers
59:04that was all for today
59:06and in the next show
59:08Milan Ivkosic
59:10that was all
59:12greetings
59:18music
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