I f there is someone who has presented the diversity of genres with his career, then that is certainly Goran Marković. From Special Education, via Majstori, mastori, Variola Vera, Reflections, Taiwan Canasta, The Meeting Point, Tito and Me, Kordon, The Tour and Falsifier, to The Blind Passen- ger on a Ship of Nutcases, then engaged documentaries Unimportant He- roes and Serbie, année zéro, to the biographical works that have interest- ed him of late. Marković represents the backbone of modern Serbian film, who always – in an almost invisible, magical way – combines art and com- mercialism in film. He says that he arrived at Prague’s FAMU by chance, on- ly to become one of its most important representatives in the years that followed, together with Srđan Karanović, who studied in the same class. His memories of his student days are foggy, he says, but emotionally deep. How did you even end up studying in Prague? - Prior to my departure to Prague, my father shot two films in the then Czechoslovakia, one of which he made with renowned Os- car-winners Klos and Kadár. He knew that domestic cinematog-
filmu. Na praški FAMU, kaže, stigao je slučajno, da bi u godinama koje slede postao jedan od njegovih najznačaj- nijih predstavnika, zajedno sa Srđanom Karanovićem, s kojim je bio na istoj klasi. Njegova sećanja na studentske dane su maglovita, kaže, ali emotivno duboka. Kako je uopšte došlo do toga da studirate u Pragu? – Moj otac je pre mog odlaska u Prag snimio dva fil- ma u tadašnjoj Čehoslovačkoj, od kojih je jedan bio sa znamenitim oskarovcima Klosom i Kadarom. On je znao da je tamošnja kinematografija u usponu i da postoji od- ličan fakultet. Iako se nije mešao u moj krajnje sumnjiv izbor, da studiram filmsku režiju, a da pritom nemam ni 19 i ne znam mnogo o toj profesiji, predložio mi je da odem tamo. Ja sam nagovorio svog školskog druga Sr- đana Karanovića da krenemo zajedno u tu avanturu i ta- ko smo se našli u Pragu. Položili smo prijemni i upisa- li prvu godinu, koja je bila u stvari produženi prijemni ispit. Bilo nas je desetoro, a posle godinu dana trebalo je da petoro otpadne. Nas dvo- jica smo bili u onih petoro ko- ji su prošli dalje.
raphy there was on the rise and that an excellent college exist- ed. Although he didn’t interfere in my extremely questionable choice to study film direction without having even turned 19 and without knowing much about the profession, he suggest- ed that I go there. And I persuaded my schoolmate Srđan Karanović to join me in that adventure, and so we found ourselves in Prague. We passed the entrance exam and enrolled in the first year, which was actually an extend- ed entrance exam. There were ten of us, and after a year it was necessary for five to drop out. The two of us were among the five that carried on. What was the difference between studies at FAMU and FDU?
U srpsku kinematografiju je sa čitavom jednom generacijom stigla osobena filmska estetika
U čemu su se razlikova- le studije na FAMU i na FDU? – Ne znam. Studirao sam u
zemlji čiji jezik nisam znao, živeo sam u skromnom studentskom do- mu i čeznuo za domovinom. U Beo- gradu su studenti živeli sa manje mu- ke. Jugoslavija je bila bogata zemlja, Čehoslovačka pritisnuta realnim soci- jalizmom. To je, međutim, za mene bila prava životna škola i u tome vidim najveći značaj svog petogodišnjeg boravka u Pragu. Zahvaljujući FAMU, nastao je termin „praška škola filma“. Koje su njene osobenosti? – Koliko se sećam, izmislio ga je Bogdan
- I don’t know. I studied as a stranger in a country whose language I didn’t even know, liv- ing in a modest student dormitory and long- ing for my homeland. In Belgrade, Students n Belgrade lived with less torment. Yugo-
Characteristic
film aesthetic entered Serbian cinematography together with an entire generation
slavia was a rich country; Czechoslovakia was under the pressure of real socialism. However, that was a proper school of life for me, and that’s where I see the great- est significance of my five-year stay in Prague. Thanks to FAMU, the term “Prague school” was creat-
Tirnanić i često ga je upotrebljavao u pejorativ- nom smislu. Svi mi koji smo završili taj fakultet potpuno smo različiti i ne postoji nikakav zajed- nički estetski pojam koji bi nas opisao kao školu. Da li ste duh praške škole kasnije prenosili svojim studentima na FDU? – Naravno da ne. Moja ideja kao pedagoga bila je da svakom mladom čoveku omogućim da se izrazi lič- no. Nisam im tokom školovanja, kao uostalom ni ostali profesori na FDU, nametao bilo kakvo stilsko određenje, gurao ih u pravcu koji ja, recimo, cenim i volim. Ukoli- ko su osećali film suprotno od mene, poštovao sam to. Kako se sećate studentskih dana? – Kao kroz maglu. Prag je tada bio siv, ali ipak veoma lep. Mogli ste hodati ulicom i slučajno nabasati na orgu- ljaški koncert u jednoj od njegovih stotinak crkava. Bez najave, reklame, skoro ilegalno, veliki umetnici svirali su za tridesetak ljudi koji su nekako saznali da će koncert bi- ti održan. Ili ste uveče mogli da odete u neki od odličnih džez klubova. Četvrtkom su izlazile nove knjige i od jutra su se pred knjižarama formirali redovi. Bilo je drugačije.
ed. What are its characteristics? - As far as I recall, it was coined by Bogdan Tirnanić and he often used it in a pejorative sense. All of us who graduated from that college are com- pletely different and there is no common aesthetic concept that would de- fine us as a ‘school’. Did you later transfer the spirit of the‘Prague school’to your students? - Of course – not. My idea as a pedagogue was to enable every young person to express themselves personally. During their studies, neither I nor any other professors at the FDU, for that matter, imposed any stylistic determi- nation or pushed them in a direction that, for example, I appreciate and love. If they felt towards film in a way that opposed my feeling, I respected that. How do you remember your student days? - As though through a mist. Prague was then grey, but still very beauti- ful. You could walk the streets and happen across an organ concert in one of its hundred churches. Without announcements or advertisements, almost illegally, great artists played for thirty-odd people who had somehow found out that the concert would be held. Or you could go to some great jazz clubs in the evenings. New books were published on Thursdays, and from early morning queues formed in front of the bookshops. It was different.
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