INTERVJU / INTERVIEW
You also performed with Zoran Radmilović and oth- er veteran actors at Atel- je 212? “Yes, that was very fortunate! I was a member of JDP for the first seven years, but I performed more at Atelje. The play St. George Slays the Dragon is particularly important to me, because we performed it for 20 years, and I had the honour of act- ing with Đuza Stojiljković, an angel who walked the earth. We still re- member him every day during film shoots, just like Gaga Nikolić, Zoran Radmilović et al.” How much did you learn about handling the stage from those greats of acting? “Those were the greatest compli- ments I received – when, for exam- ple, Pera Kralj, Đuza and Gaga would pay attention to you and share some- thing on stage with you as friends. That kind of learning isn’t possible from a book. They taught us cour- age. Every performance was new and artistic, because they were ready for something important to happen to them that evening. I’m delighted that I’m now performing in a few plays that have continued that tradition. One of them is Oedipus at the JDP.”
And yet, you’re remembered more for your TV and film roles. Was that by chance? “It was by chance. There’s a big difference when you’re at home com- fortably imagining that you’re pre- paring for a role and when you’re shooting that scene in front of the cameras, and on set the director gives you a completely different position than the one you’ve imagined. And then the magic happens in front of the rolling cameras, or doesn’t. The skill on film is playing a single scene in intervals of time, so over the course of two weeks you need to feel the same temperature while acting. Paja Vujisić, for example, had an in- fallible sense of rhythm, of the mo- ment, of the current task. And the theatre requires that you be ready for the role that very day, plus that you live with that character for years.” While we’re on the subject of theatre, are you currently also at Boško Buha Theatre? “I had the good fortune of act- ing there in the play A Midsummer Night's Dream over 120 times. We received huge ovations during the applause, which theatrologist Jovan Ćirilov commented on by saying that it was as if we were in a stadium in front of supporters, and that still happens in theatres sometimes, which I’m glad about. I’m now act- ing in the play Pygmalion, the chil- dren’s musical Puss in Boots and The Secret Diary of Adrian Mole.” In your capacity as a pro- ducer, you’ve prepared a project about Nikola Tesla? “Tesla said that his tower served for transmitting intelligence. He dealt with a special type of wave estab- lished between the verses of Njegoš and today’s young men. It was pre- cisely that resonance of waves that inspired Tesla. Those changes when the heart trembles, feels beauty, exhil- aration and the awakening of an un- derstanding of self and the world. Te- sla said how he’d discovered the mind in magnetic scribbles and electrical discharges. We’ve submitted the pro- ject to the Film Centre and I believe that the screenplay produces itself and will attract attention.”
AIR SERBIA IS THE BEST! Given that passengers on flights are reading this, I wonder if you like planes? “Our family is big and we are proudest of our two pilots, both of whom have “driven” me. They have reached the highest heights in our extended family. I didn’t have the predisposition for that, but I fly often. And I can hardly wait for the plane to take off, because I’m so busy in life that I only fantasise about the moment I take my seat, fasten my seatbelt and take a nap for half an hour; to not think about anything, to unburden myself. That state of weightlessness ushers you into a state of ease - you leave all the difficulties and problems of life back on the ground and they no longer have an effect. Flying also provides a good opportunity to order your thoughts.” What are your impressions of Air Serbia? “I’m always the most satisfied with our airline! For exam- ple, I injured my shoulder during a play in Edinburgh and was unable to sit on the plane of a major airline, rath- er I kneeled. But as soon as we moved to an Air Serbia plane, the crew made it possible for me to lie down on three seats without pain. That’s always a big difference!”
professor Predrag Bajčetić, and I act- ed alongside Neda Spasojević, Petar Božović and Miša Janketić. I quickly landed the lead role in Branko Pleša’s A Sinful Child, and it was a pleasure to learn acting alongside Rade Mark- ović, Ljuba Tadić, Mira Stupica, Ol- ivera Marković and many others.”
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