KULTURA / CULTURE
We began this interview by ask- ing the show’s leading lights, mar- vellous British actresses Emily Wat- son and Olivia Williams, the very question of how they handled the apparently tough task of entering the extremely complex Dune uni- verse... EW: I’m quite glad I didn’t know the extent of it when I joined. The fan universe, the size of the world, and all the different elements of it are vast and intimidating, but it was a delicious dish for an actor to join because it's so complicated. What a great set of people to be alongside. OW: Yeah, I realised I was on the verge of something major when I told the man fitting my TV I was playing Tula Harkonnen, and he knelt at my feet. I rang Emily and said ‘What have we got ourselves into?’. It’s like, don't mess with Pe- ter Pan; you have to be careful with what you do. Fortunately, we had Alison at the head of this, who loves Dune. She is a proper nerd and a great writer, and passionate about the representation of women in sci- fi, and it's about bloody time. How does gender play into the tale? OW: We have to remember that the original series was written by a man in the '60s. Women have to maintain a mystery, they’re veiled. But these women also know when someone is lying, which is a very important skill. It’s also really in- teresting that the men who wrote this gave women the ability to talk to their ancestors, but they had to go through a thing that was almost as painful as childbirth. Women's wisdom comes through agony. It's an interesting philosophical investi- gation. But why do women have to go through this? Where's the epi- dural for the agony? How is the relationship be- tween Valya and Tula? OW: I loved that Valya takes care of the kind of universal polit- ical and Tula is going in on a scien- tific, nerdy cellular level to investi- gate the science behind this. I now know some facts like the bacteria in our stomachs may control our
mood, depression and dementia. There’s a science behind how fear can be like an infection or a disease. How did you prepare for such a huge role? EW: When we were first cast, we went to the National Portrait Gallery and sat in front of the por- traits of Elizabeth, Queen of Scots, all those Tudor women who were so powerful and so surrounded by vipers, trying to get a sense of the inspiration from there. OW: Human civilisation isn't linear. It's bloody cyclical. So, 10,000 years have gone by in this universe, and not much has changed. So, what can you learn from this show? OW: Look at truth. The idea that there is an actual incontro- vertible truth is now considered absurd. It's my truth, your truth, what I said, and my perception and alternative facts. There was a day when there was a truth, and you could argue it, but the other per- son would have to back down when you produced evidence. Those days seem so simple. EW: I have a line where I say: It wasn't us that planted the rumour, but play it we will. You can destroy somebody by just putting a story out there. What do you think people misunderstand about sis- terhood? EW: Women have to be con- fined away from men in order to be powerful. It's no accident that Eliza- beth I was called the Virgin Queen, because if she were perceived to marry somebody, that would sig- nal that she was being controlled by someone else. OW: Can I run the universe and be intimate occasionally? EW: No! Also, we've had a lot of people thinking, isn't it great to have these feminist icons? Excuse me, no. Children, don't try this at home. OW : They're flawed like anyone else, and it’s great that a script has been written for two women in their 50s to lead the story and lead the universe, but don't copy moral code.
Poslednja „Dina“ Denija Vilneva Deni Vilnev, reditelj dva nova filma „Dina“, najavlju- je treći deo te franšize za koji kaže da će biti njegov poslednji, kao i da se neće nadovezivati na prethod- na dva dela. – To su zaista dva filma, koji su adaptacija prve knjige. To je urađeno i završeno. Ako uradim treći, koji je tre- nutno u procesu pisanja, to neće biti trilogija. Čudno je reći, ali ako se tome vratim, moram da uradim ne- što što deluje drugačije i što ima sopstveni identitet – objasnio je reditelj koji je odavno govorio o tome ka- ko bi želeo da napravi treći deo filma „Dina“, koji bi za njega bio i poslednji, iako je Herbert napisao još neko- liko romana. – Ako se „Mesija Dine“ desi, to će za mene biti mnogo godina na Arakisu, a ja bih voleo da radim i nešto dru- go. Mislim da je dobra ideja da se pobrinem da se u „Mesiji“ nalazi seme, ako bi neko želeo da radi nešto s tim kasnije, jer su to prelepe knjige – kaže on.
DENIS VILLENEUVE’S LAST DUNE Denis Villeneuve, director of the two most recent Dune films, announces the third instalment of the film fran- chise, which he says will be his last, but also that it will not represent a continuation of the previous two parts. “Those two movies really are adaptations of the first book. That’s done and that’s finished. If I do a third one, which is in the writing process, it’s not like a trilo- gy. It’s strange to say that, but if I go back there, it’s to do something that feels different and has its own iden- tity,” explained the director, who has long been talk- ing about how he’d like to make a third Dune film that would be his last, despite Frank Herbert having written several more Dune novels. “If Dune Messiah happens, it will have been many years for me on Arrakis, and I would love to do something else. I think it would be a good idea for me to make sure that, in Messiah, there are the seeds in the project if someone wants to do something else afterwards, be- cause they are beautiful books,” says Villeneuve.
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