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of the Monastery Brandy, directed by Slo- bodan Šijan, and prior to that I worked in Zagreb on an American mini-series. I was in Cannes for the rst time at the age of 16, when the competition programme included the lm Special Treatment and Milena Dra- vić received an award, then I later helped Goran Paskaljević make the lm Someone Else’s America. I am connected to this region emotionally, but I always also believed that good lms can be created here. However, Ralph Fiennes is the person who brought me back to Serbia fully, with the lm Coriolanus. You didn’t bring him, rather he brought you? - Precisely. It was a very strange set of circumstances. We’d just completed shoot- ing for The Duchess. Ralph was preparing to shoot Coriolanus and during one din- ner with me and my ex-husband he said that he already had producers from Amer- ica and had been to see various locations, in Romania and Serbia, and that he really liked Serbia, to which my ex-husband re- sponded – Do you know that you’re sitting with a little Serbian princess? He had no idea. I told him to call my father when he planned to return to Serbia, so Ralph also met with him. Then his nancial construc- tion collapsed, so he called and asked me to join the team and help. And that’s how I happened to return to Serbia. And how did the lm Minamata come about, which is currently be- ing shot in our country? - Andrew Levitas, this lm’s director, joined us on Coriolanus as a producer and saved us. We were on the brink of shutting down the production, then he came, be- came a co- nancier and spent a week with us here in Serbia. He was so impressed that he called me several months later to say that he was working on a lm as a director and to ask if we could perhaps shoot it in Ser- bia. And so here we are. How is shooting progressing? - It’s progressing excellently. We’re rec- reated Japan in Serbia! We’ve mostly shot interiors, while we’ll shoot exterior scenes in Montenegro. When you work with such great names, like Ralph Fiennes or, John- ny Depp, do the stars have to listen to you or do you still have to listen more to them? - You must always listen to them. I constantly remind my people to consid- er who their main talent is in a lm. You have to worry about him and take care of him. These are artists who are very exposed and we should assist and unburden them, creating an atmosphere in which they feel comfortable so that they can give the best of themselves.
već ima producenta iz Amerike, da je išao da gleda različite lokacije u Rumu- niji i Srbiji i da mu se Srbija baš dopala, na šta mu je moj bivši muž rekao: „Da li ti znaš da sediš sa malom srpskom princezom?“ Nije imao pojma. Rekla sam mu da, kada se vrati u Srbiju, po- zove mog tatu, koji bi mogao da mu pomogne. Tako se Rejf sastao s njim. Onda mu se finansijska konstrukcija raspala, pozvao me je i zamolio da se priključim timu i pomognem. I tako se desio moj povratak u Srbiju. A kako se desio film „Minama- ta“, koji se sad snima kod nas? – Endru Levitas, reditelj filma, pri- ključio nam se na Koriolanu kao pro- ducent i spasao nas. Bili smo na ivici da ugasimo produkciju, a onda je do- šao on, postao kofinansijer i tako pro- veo nedelju dana sa nama ovde u Sr- biji. Bio je toliko impresioniran da me je nekoliko meseci kasnije nazvao da kaže da radi na filmu kao reditelj i pi- tao da li bismo možda mogli da sni- mamo u Srbiji. I evo nas ovde. Kako teče snimanje? – Odlično. Napravili smo Japan u Srbiji! Uglavnom smo snimili enteri- jere, a u Crnoj Gori radimo eksterijere. Kada radite sa tako velikim imenima kao što su Rejf Fajns ili Džoni Dep, da li zvezde moraju da slušaju vas ili vi više slušate njih? – Uvek vi morate da slušate njih. Svojim ljudima stalno ponavljam da imaju na umu ko im je glavni talenat u filmu. O njemu morate da brinete i da gapazite.Tosuumetnicikojisuveoma izloženi, a mi treba da im pomognemo i olakšamo, da stvorimo atmosferu u kojoj se osećaju prijatno da bi mogli da daju najbolje do sebe.
Den Tana je uz Frensisa Forda Kopolu jedini otac čija je i ćerka članica Američke akademije za filmsku umetnost i nauku Dan Tana is the only other father, along with Francis Ford Coppola, whose daughter is also a member of the American Academy of Motion Picture Arts and Sciences
Speaking at the premiere of The White Crow, you gave a very touch- ing speech in gratitude to your fa- ther. - The lm The White Crow (about Ru- dolf Nureyev’s defection from the USSR) was partly very personal for me, because my fa- ther was also a dissident who sacri ced a lot. I saw from an early age how di cult it was for him, how he dealt with the guilt of having left behind his mother. I’m very sen- sitive to this topic and this lm reminded me of my father. When did you realise that lm was your calling? - I loved lms from childhood. My grand- father on my mother’s side was a produc- er and at the age of 22 became one of the production bosses at Universal Studios. My mother was a proper Hollywood child, but I never took it for granted that I would also work in this area. I studied philosophy and literature at college, and almost reached my master’s dissertation in philosophy, but it was then that I realised I wanted to work. One of my rst jobs was on a lm directed by Bernardo Bertolucci’s wife. I was an as- sistant set designer. As I was able to nd my way easily in Europe, I was the person- al assistant of many Americans. From the mid-1980s, I spent 15 years living in Paris. Is there a di erence between shoot- ing in Europe and in America? - Everything’s completely di erent. I’m there to support my author absolutely. The Hollywood studio system is strange. I don’t know if I could ever be part of it. I believe in vision, in narration, and I’m there to help tell the story and not to impose something. When did you decide to start shoot- ing lms in Serbia? - I worked on some lms in Yugoslavia that my father produced, such as The Secret
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