interview by Michele Gavazza
A nice interview with the writer and director Srdjan Dragojevic
HM: What was the genesis of Nebesa?
SD: Everything started five years ago when I found in my library a small book with Marcel Aymes fantastic stories. I recalled the fascination I felt many years ago, in my early 20-es, sometimes in the 80-ies with these fantastic stories and how I was thinking how wonderful films could have been made from them.
Idea to adapt them into modern times started to provoke me. Marcel Aymes refers to a completely different setting - Paris 1920 and his characters are from a small village environment - how to transfer them into present Eastern European society? Really challenging thing. Even regarding nutritious art (the third story of the film) Aymes had something completely different in mind - It is his cynicism addressed to left-wing writers who include social context and activism in their literary work. Aymes was a right wing guy who despised that kind of Art.
For me, these stories are just a canvas to develop my own ideas and dilemmas.
For me, who grew up in an Atheist society, in Socialism and whose sister is an Orthodox nun, some important questions appeared. What is the true nature of God? Is it the one from the Old Testament that punishes and asks for sacrifice or the God of love and mercy? Are we able to differentiate miracles as signs of God‘s mercy or the Devil‘s temptations? The Golden Calf is also a really important metaphor in HEAVENS ABOVE. Is Christianity in today‘s world just praying to idols, money, glory, celebrities, and our hungry, selfish Egos?
HM: You are both director and screenwriter of your film, is it easier for you to work in this way?
SD: In the 80-es I was quite recognized as a Poet, with three awarded books. I was publishing short stories in the magazines all around Yugoslavia. I was the editor of the literary pages in one magazine. So, writing was always the major way of expression to me. The directing came much later. I consider myself quite a solid director but much better writer and screenwriter.
I wrote a lot of things for the other director and was never quite satisfied with the result. To be just a screenwriter is a bit of a frustrating profession. If it turns out bad, you don't have a chance to prove that your script was far better than the following film. This way is more honest. If I f… up, I will f…up completely and nobody is responsible but me.
HM: What is the most vivid memory of that period after about 30 years?
SD: Oh. Most of my memories from 90-es come from shooting the films. It was hell of the time, war, sanctions, 100k inflations per day, hundreds armed lunatics running through the streets of Belgrade. I can say that my films saved me from turning crazy.
But, a lot of crazy things were happening during the pre-production and shooting.
We shot PRETTY VILLAGE PRETTY FLAME during the war, 1995. several kilometers from the front zone. We needed the armed vehicle for the film and there were a guy who got one for himself, driving it through the city of Visegrad in which vicinity we shot the film. Producer approached him and asked him to rent it for the film - Sure thing! the guy said, 100 Deutsche marks a day! But fuel is on you, it’s burns a lot! Later on, on the set, one crazy guy jumped on the top of that vehicle and pointed a anti air-craft toward us. Fully loaded. Started screaming - You fucking city boys from Belgrade, you came here to f…us around. A second before he shot at us, who were watching at the cannon, some officer jumped after him and stopped him. That was a time really close to death. I have a lot of stories like that, now they seem kinda nostalgic but it was a pure lunacy shooting the film under those circumstances.
HM: Were you excited to return to address the audience in the hall after the pandemic?
SD: Oh. After one year in the Corona bunker, I almost lost any hope that the audience would see my film alive. This first screening in Locarno, with almost two thousand people, was really emotional. Especially later on, when young people would recognised me on the streets and approaching me, asking really clever questions about the film. Film itself need live audience, a live contact between film-maker and the audience. Especially the films I am trying to make - films that open questions and discussion.
SD: Oh. Most of my memories from 90-es come from shooting the films. It was hell of the time, war, sanctions, 100k inflations per day, hundreds armed lunatics running through the streets of Belgrade. I can say that my films saved me from turning crazy.
But, a lot of crazy things were happening during the pre-production and shooting.
We shot PRETTY VILLAGE PRETTY FLAME during the war, 1995. several kilometers from the front zone. We needed the armed vehicle for the film and there were a guy who got one for himself, driving it through the city of Visegrad in which vicinity we shot the film. Producer approached him and asked him to rent it for the film - Sure thing! the guy said, 100 Deutsche marks a day! But fuel is on you, it’s burns a lot! Later on, on the set, one crazy guy jumped on the top of that vehicle and pointed a anti air-craft toward us. Fully loaded. Started screaming - You fucking city boys from Belgrade, you came here to f…us around. A second before he shot at us, who were watching at the cannon, some officer jumped after him and stopped him. That was a time really close to death. I have a lot of stories like that, now they seem kinda nostalgic but it was a pure lunacy shooting the film under those circumstances.
HM: Were you excited to return to address the audience in the hall after the pandemic?
SD: Oh. After one year in the Corona bunker, I almost lost any hope that the audience would see my film alive. This first screening in Locarno, with almost two thousand people, was really emotional. Especially later on, when young people would recognised me on the streets and approaching me, asking really clever questions about the film. Film itself need live audience, a live contact between film-maker and the audience. Especially the films I am trying to make - films that open questions and discussion.
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