ma poput Diane odakle god da smo, možda najveći doprinos sećanja na nju inspiracija? Možda će njena priča podsta- ći nekoga da se ohrabri i uči- ni nešto veličanstveno. Veru- jete li u to? – Verujem. Rad na Diani za celu filmsku ekipu bio je jedno druga- čije iskustvo, stalno smo učili, stal- no smo se osećali mali pred tim de- lom i teralo nas je da budemo bolji, da manje govorimo kako je naše vre- me teško i primimo se posla i svog cilja. Osećam da na veliki deo publi- ke kroz film dopire ta Dianina snaga i poruka. Manite se glupih rasprava i strahova, činite dobro i borite se za ono što je životno važno. Spilberg je ispričao priču o Šind- leru, šta mislite o tom filmu, da li vas je i on na neki način pod- stakao? – Dnevnik Diane Budisavljević se kroz dugi period stvaranja, dakle dok smo razvijali projekt, zvao Dianina li- sta . Bio je to naslov koji je nekako po- magao da ljudi razumeju o čemu se u filmu radi, u kom smo istorijskom periodu i da je film o spasavanju. Ali Šindler i Diana su dve različite film- ske i stvarne priče. Kod Šindlera je zanimljiva i majstorski filmski ispri- čana transformacija od čoveka koji želi da zaradi na besplatnoj radnoj snazi i tako počinje da spasava Je- vreje, da bi na kraju shvatio da je to neuporedivo vrednije od novca. Kod Diane nema obrta, ona deluje intui- cijom, iz čistog humanizma. Kod nje postoji antiklimaks jer ni nakon toli- ke žrtve nema hepienda. Filmovi imaju jak uticaj na vas, zato ih ne gledate dva puta, ni- ti u velikim količinama. Može- te li da izdvojite neki koji vas je proganjao najduže i ostavio utisak koji ne bledi? – Za mene filmovi nisu zabava, ne mogu da se opustim uz njih, oni me progone svojim slikama, koje mi se duboko upisuju i nastavljaju da ži- ve sa mnom. Volela bih da snimim dobru komediju, da nasmejem lju- de, to je veliko umeće i takođe ne- što što ljudi dugo nose sa sobom. Radeći Dnevnik Diane Budisavlje- vić , najčešće sam mislila o Drvetu života Terensa Malika, Satima Stive- na Deldrija, filmu Pijano Džejn Kem- pion, H8 Nikole Tanhofera, Plavo i Dvostruki život Veronike Kristofa Kislovskog i Dodirnuti bezdan Ke- vina Makdonalda.
tally uncovered at the Jasenovac Museum, with archive footage, investigations, witness testimonies etc. You spent ten years prepar- ing the lm. Why did it take so long? This is about the largest civilian campaign to save children in World War II. Imagine when you read something like that, something so huge, and you realise that it has hardly been addressed at all historically. What a responsibility that is, what a task. The rst three years we spent just investigat- ing. We spoke to over a hundred people, searched through 25 archives in Croatia, Serbia and Austria, searching for everything we could nd about Diana and her associates; we searched for survivors and documents and archival materials, in order to be certain in our story. Everything that’s in this lm is veri able. Although this is a story from Diana’s per- spective, based on her Diary, a great deal of atten- tion was paid to ensuring that everything we in- cluded in the lm is credible. You can’t restore faith
in people with lies. Diana waited a long time and deserved for us to tell her story credibly. Apart from the gratitude and admira- tion that we all owe to people like Di- ana, wherever we are from, perhaps the greatest contribution to remem- bering her is inspiration. Perhaps her story will encourage someone to pluck up the courage to do something mag- ni cent. Do you believe that? I believe so. Working on Diana was a dif- ferent experience for the entire lm crew, we were constantly learning, constantly feeling small in the face of this deed, and pushing us to be better, to speak less about how tough our times are, and to get to work and achiev- ing our goal. I feel that, through the lm, a large part of the audience is reached by Di- ana’s strength and message. Turn away from stupid arguments and fears, do good and ght for what’s important in life. Spielberg told the story of Schindler. What do you think of that lm; did he encourage you in any way? The Diary of Diana Budisavljević went through a long period of creation, and while we were developing the project it was called Diana’s List. That was a title that somehow helped people understand what the lm was about, which historical peri- od we were in, and that the lm was about rescuing people. But Schindler and Diana are two di erent stories in both lm and reality. Schindler is interesting, and mas- terfully recounted on lm, as a transforma- tion from a man who wants to make mon- ey on free labour and save Jews along the way, to someone who eventually realises that saving lives is in nitely more valuable than money. With Diana there is no trans- formation, she acts out of intuition, out of pure humanism. With her there is an anti- climax because, even after so much sacri- ce, there is no happy end. Films have a strong in uence on you, which is why you don’t watch them twice or in large numbers. Can you sin- gle out one that haunted you the long- estandleftanimpressionthatdoesn’t fade over time? For me lms are not fun, I cannot relax to them;theyhauntmewiththeirimages,which are deeply embedded in me and continue to live with me. I’d love to make a good comedy, to make people laugh, that’s a great skill, and also something that people carry with them for a long time. Whilst working on the Diary of Diana Budisavljević, I most often thought of Terrence Malick’s The Tree of Life, Stephen Daldry’sThe Hours, JaneCampion’sThe Piano, Nikola Tanhofer’s H-8, Krzysztof Kieślowski’s Three Colours: Blue and The Double Life of Véronique, and Kevin Macdonald’s Touch- ing the Void.
DELITE PREZIME, KAKVA JE VAŠA LIČNA VEZA SA DIANOM? – Zajedničko prezime i sličnost naših imena odigrala je nekako sudbinsku ulogu da dnevnik dođe do mene 2010. godine. Poznanica je mislila da smo možda u srodstvu, pa da ću nešto više znati o Diani, ali ja nisam nikada do tada čula za nju. Krvno nismo u srodstvu, Diana je Au- strijanka iz Insbruka koja je udajom za dr Julija Budisav- ljevića došla u Zagreb nakon Velikog rata 1919. S Julijem jesam u dalekom srodstvu i njegovo ime sam čula u po- rodici jer je bio znameniti zagrebački lekar, ali za Dianu nikada ranije nisam čula.
GIVEN THAT YOU SHARE A SURNAME, WHAT IS YOUR PERSONAL RELATIONSHIP WITH DIANA? The shared surname and similarity of our rst names played a kind of fateful role in the Diary making its way to me in 2010. An acquaintance thought we might be related and that I would thus know something more about Diana, but I’d never previously heard of her. We are not blood relatives, as Diana was an Austrian lady from Innsbruck who married Dr. Julija Budisavljević and came to live in Zagreb after the Great War in 1919. I am in a distant relative of Julija and I’d heard his name in the family, because he was a prominent Zagreb doctor, but I’d never heard of Diana before.
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