Life is a miracle – Interview with director Emir Kusturica

Life is a miracle - Interview with director Emir Kusturica

Life is a miracle – Interview with director Emir Kusturica

  On 16 6. 2005 will start Life is a Miracle by Emir Kusturica in German cinemas. In an interview, Kusturica, one of the great European art-house Regiseur his latest film.

The love of which it is told in The Life is a miracle under an unlucky star. Luka and Sabaha are the descendants of Romeo and Juliet?
In a way, yes. Back when I went underground, said Peter Handke is very enthusiastic about my project, and he said that with this film would be made impossible attempt to stage with the Marx Brothers in the sense of Shakespeare. Having recently Life is a miracle has seen, he said: “This time you are much closer to Shakespeare.” I think Luka, the hero has to contend with a couple of Shakespeare’s conflicts. He has the responsibility for a hostage, Sabaha, into which he falls in love. Although he would never go out of himself on the idea of taking anyone hostage, but he is now reingeschliddert even there. The biggest dilemma is built up before him as his hostage against his son, who was captured by the opposing army up to exchange. What should he do? He loves Sabaha, and his son, he loves anyway. What happened during the war, was of Shakespearean proportions, but I tried to see things from my perspective, which means that also play a role in many aspects of life that are funny or ironic.
(# ) The whole of the Balkans, a stage?
Absolutely. When you locate a Shakespeare’s conflict against the background of the Balkans, which inevitably looks different than before a Danish or English background. It is always a bit pagan reach. The first versions of the screenplay Jadranka for example, was not an opera singer, but little by little we’ve changed more things to make room for the eccentric situations where people come to their limits, where they almost go crazy and become part of another reality . That is also the historical truth. The Balkans are full of talented people, each for himself, but as soon as they are to be set apart to each other in society, no longer works.

Identify yourself with Luka?
Very. For example I like about him is that he does not lose the neck over head in love. He is very much old-fashioned in this regard. He tried to postpone the love of Sabaha, because he just wants to have his son back. When he eventually surrenders, then completely. I know well. When I watch how he approaches in small cautious steps Sabaha, I have the impression that it is myself I would have behaved very similar.

Luka rejects the idea that there could ever be a war? (# Exactly) so it was me. When war broke out, I lived in Paris. The first month and a half could not (or did I just do not) believe what had happened. Perhaps it was a delayed effect in my head, like those old-fashioned television cameras, where an image in the viewfinder is easily available, although this has what’s happening in front of the lens changed long ago. I could not believe that was war! An entire generation of Yugoslav people felt the same. We were not just leave this up in a position that what was before him, to us. Luka is one of those people.

Hold your film for optimism?
I think it’s a sad, optimistic film, because for Luka opens up the prospect of love. Everything else is now less reliable. A creeping pessimism is certainly not the right way, but we should be realistic compared to what is happening before us. The past century was the century of wars and conflicts, yet there was much more hope than at present. It seems that death has become something quite banal, and that he can lie in wait for us at any time and anywhere. In this world without reliable great utopia, we must create for ourselves our own utopias, because with every spirit, which is saved to win with every soul that is saved, we stop.

Did you want to comment on the war? ( #) Sure, but certainly not in the way that I would say that this nation is right and that is wrong, they are the aggressors, those who attacked. This is stupid, because it solves no problems, but it only freezes. And then some time passes and everyone is back as it was before it was freezing. That is what indeed happened during the war, and I think the background of the war strengthened the ideological character, as it was a very dirty war. It had nothing to do with what we see on television. The war on television is so superficial and so manipulative. I have tried to penetrate deeper into the human reactions.

Was it difficult to turn in this context, a love story?
Very difficult. This film was a big test for myself. I wanted to know if I would ever be able to make a film, which revolves mainly around two people. When I started with the filmmaking, I always turned back scenes with great hullabaloo, and many people. At some point, but I said to myself: “Now you’re old enough and hopefully have enough maturity, you should try it.” I was very happy to me so fantastic faces were available: Slavko, who plays Luka, is like a Southeast European version of Anthony Perkins; Sabaha in the whole of the Slav girls blonde beauty is included, and the clumsy postman, the officer who not only a soldier, but also human and vulnerable, and all that but grouped around a very explosive center. It was a great challenge. There were people who told me: “So now you’re making a very old-fashioned film?” For myself arises Life is a miracle as old-fashioned-modern is, in the sense that we address our attention to emotions and not to the question of guilt, what the Western world the example of the war in Bosnia was quite the day.

If it is easier to make films about love or war?
That has little to do with each other, but with Life is a miracle that I wanted to try to link the different too. There are some war scenes that appear only as lightning. Sketch the context and background of the story and also reinforce the intimate scenes very difficult. If you are eager to be understood by a wide audience while still keeping the soul of the film intact, like, this is a huge balancing act. An overly large opening of your film in the direction of the audience means that the organic, substantial values are lost, which can only lead to identify with the characters of the film. Today, it seems to me we go back to Roman times, when the arena of the Colosseum was a single pool of blood. At least, seems to me the current cinema before it, or we say that the cinema of the idiotic conflicts, which are dictated by television.

Aleksic, the officer said Luka once that death would be easy, that life is the hard part. It seems that you were trying to solve Luke dilemma, as he himself takes out from the structure of relations.
It was clear: as soon as one of this “trilemma” falls – there is no dilemma more – it is the only way out, that one accuses a train. However, I also believe that people who bring about something good in their lives, have a guardian angel. In Luke’s case, the donkey, standing in front of the train. This is what happened: I had a script that was well prepared and structured, everyone had a good dialogue, the characters who shape and size, so it was all very well. But then I went on location search, and somewhere I saw the photo of a man whose ass is on the tracks and the train blocked the road. This led me to ask my previous question in the end, because you can not have your main character just released by suicide from the film. You must open the door and say: “People, there is hope.” I believe this – I want to say – holy ass has brought me back to my core idea.

Some people is in this context certainly think of Frank Capra and his films. Is that right?
I am not just right. It is both an honor and a pleasure. The time Capra was the best time of Hollywood. And Capra was the best representative of this kind of Hollywood cinema. He and Lubitsch. Such a film is unfortunately gone. But for this energy, this spirit I fight, along with some others, like the last of the Mohicans. If a person does manage to rise again this period back to life, that would be fantastic. If you compare the American cinema of the forties and fifties with the American cinema since the eighties, it is depressing. One inevitably wonders: “Has humanity really developed in such an idiotic way?” Or is it a new ideology that Hollywood uses to spread its vision of the world as a sheer business world, what are the consumer, not man and fellow man in the center and it is better not to harass those consumers who did not to move to a human response. It is a misconception to think that only the market measure and regulator should be our social and psychological processes, or can. This is a fundamentally false idea that a trip in the wrong direction on which we may not continue to move away …

In the midst of war, tragedy and the emotions that determine Sabahas Luke and romance, there are many funny moments … ( #) The results in writing. Immediately. It comes through the way I perceive the world. I am the representative of the audience on the set and I want to be amused. I want to be touched by this unknown feeling which arises from the interaction between people, places and events. That has to be designed very carefully, but you may not notice the constructed. It is what I call “invisible architecture”. The comic elements come out of my way of seeing things out of my way to live life, and if you rotate an entire year, finds life a matter of course at some point the way to the canvas.

Life Is a Miracle – Interview with director Emir Kusturica

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