Your carrier can be followed on relation Ljubljana - Sarajevo, even your first post-war film was called BORDERLINE LOVERS. How much you’re your existence on two sides of the border define you as director?
Borders are something I don’t acknowledge, but they don’t acknowledge me either. There are always lines, controls, show you passport, etc. It’s not humane all the time, but itcan begreat for film.
We are used to watch actors in films, but they are stars, rarely themes of the films. Why did you decide to do a film about them in I ACT, I AM?
My dad took me a lot to theatre when I was a kid. Every time I saw an actress in the street, I thought of her as a character from last night’s play and not, let’s say… Nada Đurevska. I never fully understood transformation from oneself to the character and vice versa.I also realised that us “non-actors” act a lot in our everyday lives which widens the story from one that is purely professional to universal one.
I ACT, I AM is an omnibus that is taking place in three different countries. Why did you decide to separate the stories geographically?
Iam from Sarajevo; I live in Ljubljana and I spend a lot of time in Zagreb. I felt the need to say something about social problems that bother me in three geo-social areas and mentalities closest to me through one philosophical discussion about truth and lies.
What are the differences in shooting in Bosnia and Herzegovina, Slovenia and Croatia?
There are almost no differences – there is not enough money, but lots of energy, talent and need to work in film in all those places.
How logn did it take you to shoot the film? Three teams must complicate the shooting process significantly?
Complications are good, by overcoming them one strives for simplicity.
Why is the film done in black and white? In which way do you think absence of colour influences the perception of the viewers?
I have no idea why it is black and white. In the first phase of writing I have already seen it like that. If I try to rationalise that choice – I might have been afraid of naturalism. Now, when film is being screened, I wish for viewers to colour it in the colours they feel suits it the best.
I ACT, I AM is in large part a film about love. What do you think of the idea that every story, in its essence, is a love story?
We are always somewhere between what we wish and what we need. With film, you feel a need to tell this or that, but from you something comes that you can’t control. The fact that in the end of every story there is a love couple exposed to heighten emotions is something I was very happy to find out only when I started editing.
And, in the end, what is the next for Miroslav Mandić?
I would like to shoot for a bit, and I then wouldn’t. How can I write her love songs, when she loves someone else, that is the question.