INTERVJU / INTERVIEW
changes the way you move and think as a character. But I don’t think a phys- ical transformation makes sense if there’s no emotion behind it. The audi- ence won’t remember how fast you run or how well you wield a sword. They will remember a moment when a char- acter shows vulnerability or fear. That’s what remains. What do you think today’s audiences are seeking in a hero? - Authenticity. I don‘t think any- one believes in perfect heroes who nev- er make mistakes anymore. People want someone who tries to do the right thing even when they’re not sure how. That’s much closer to real life. Robin Hood couldn’t function today as a one-dimen- sional hero. There must be an internal conflict. And I think the series under- stands that very well. What was it like to work with an international cast? - Very natural, which perhaps sur- prised me the most. When you have big names on set, you expect a certain dis- tance, but the atmosphere is very re- laxed here. Everyone is focused on the story and on making something good together. I think that energy is also felt on the screen. There’s no ego. Just a lot of work, humour and mutual trust. How interested are you in historical stories today? - Much more than I was before. When you’re younger, you often per- ceive history as something distant. But later you realise that people hav- en’t changed much. Technology and costumes change, but the emotions re- main the same. Greed, love, ambition, fear. That’s why historical stories still work. Because they are actually talking about us today. What has this project taught you? - To slow down and be more pres- ent. Major productions can easily drag you into stress and thinking about the end result. But the most beautiful mo- ments often come between scenes, in conversations with the crew or in the si- lence before filming. I think this project has reminded me how important it is to enjoy the creative process itself.
What attracted you the most to this new version of the story of Robin Hood? - I think every generation has a need to retell that story. Robin Hood isn’t just a man who steals from the rich and gives to the poor. He repre- sents the idea of resistance against a system that has lost its sense of jus- tice. And that’s a topic that never gets old. What I particularly liked about this version is that the characters aren’t idealised. They all have certain cracks. They make mistakes, doubt, get scared. And that’s precisely why they seem real. I think audiences today re- spond much more to imperfect heroes than to untouchable legends. How did you approach your character, in a world that’s both historical and very modern in terms of energy? - That was very interesting to me. The series respects the historical frame- work, but the emotions and dynamics between the characters feel very con- temporary. I didn’t want to play a “his- torical figure”, but a man attempting to survive in a brutal world. When you strip away the costumes and swords, you realise that their dilemmas are very similar to ours today. Fear of loss, a need to belong, the question of loyal- ty. These are all universal things. I think that’s exactly why this story has en- dured for so long. The series is being shot in Serbia. What kind of experience have you had in Belgrade and around our country? - Honestly, I was completely de- lighted. Serbia has incredible energy.
The nature is beautiful, history can be felt at every turn, and the people are among the warmest I’ve met. During shooting, I’ve had the feeling that the local crew and the people around us re- ally accept us as part of the communi- ty. That means a lot when you’re away from home for months at a time. I al- so really like the food, though I hav- en’t got to try many specialities. But the schnitzels are perfect. Serious- ly, I think I ate them more often than I should. Serbia really surprised me in the best possible way. It‘s interesting to note that you had contact with Serbia before ever coming to Belgrade? - Yes, actually long before filming. I met a lot of people from Serbia and the Balkans in Australia. One of my best friends is Serbian and is also an actress. I think that, thanks to her, I first got the impression of how direct, loud and fun Serbs can be. And it’s in- teresting that she didn‘t intentionally teach me my first Serbian word. I just kept hearing her and her friends say “brate” (brother). I heard it so often that at one point I started repeating it without thinking. So “brate” was defi- nitely my first Serbian language les- son. And, honestly, I think it perfect- ly describes the energy of the people I’ve met here. How important to you are physically demanding projects like this one? - I love the physical aspect of act- ing, because it helps you get into the character’s world. When you wear a heavy costume, ride a horse, or spend days outside in the cold and mud, the body begins to react differently. And it
32 | Intervju » Interview
Made with FlippingBook interactive PDF creator