40 | / 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 već ima producenta iz Amerike, da je išaodagledarazličitelokacijeuRumuniji iSrbiji idamuseSrbijabašdopala, na štamu jemoj bivši muž rekao: „Da li ti znaš da sediš sa malom srpskom princezom?“ Nije imao pojma. Rekla sammu da, kada se vrati u Srbiju, pozove 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 priključimtimuipomognem. I takose desio moj povratak u Srbiju. A kako se desio film „Minamata“, koji se sad snima kod nas? – EndruLevitas, reditelj filma, priključio nam se na Koriolanu kao producent i spasao nas. Bili smo na ivici da ugasimo produkciju, a onda je došao on, postao kofinansijer i tako proveo nedelju dana sa nama ovde u Srbiji. Bio je toliko impresioniran dame je nekoliko meseci kasnije nazvao da kaže da radi na filmu kao reditelj i pitao da li bismo možda mogli da snimamo u Srbiji. I evo nas ovde. Kako teče snimanje? –Odlično.NapravilismoJapanu Srbiji!Uglavnomsmosnimili enterijere,auCrnojGoriradimoeksterijere. Kada radite sa tako velikim imenima kao što su Rejf Fajns ili Džoni Dep, da li zvezdemorajuda slušaju vas ili vi više slušate njih? – Uvek vi morate da slušate njih. Svojim ljudima stalno ponavljam da imajunaumukoimjeglavnitalenatu filmu.Onjemumoratedabrineteida gapazite.Tosuumetnicikojisuveoma izloženi,amitrebadaimpomognemo i olakšamo, da stvorimo atmosferu u kojoj se osećaju prijatno da bi mogli da daju najbolje do sebe. Speaking at the premiere of The White Crow, you gave a very touching speech in gratitude to your father. - The lm The White Crow (about RudolfNureyev’sdefectionfromtheUSSR)was partly verypersonal forme, becausemy father 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 behindhismother. I’mvery sensitive to this topic and this lm reminded me of my father. When did you realise that lm was your calling? - I loved lmsfromchildhood.Mygrandfather on my mother’s side was a producer and at the age of 22 became one of the productionbosses atUniversal 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 literatureat college, andalmost reachedmy 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 assistant set designer. As I was able to nd my way easily in Europe, I was the personal assistant of many Americans. From the mid-1980s, I spent 15 years living in Paris. Is thereadi erencebetween shooting in Europe and in America? - Everything’s completelydi erent. I’m there to supportmyauthor absolutely.The Hollywood studio systemis strange. I don’t know if I could ever be part of it. I believe invision, innarration, and I’mthere tohelp tell the storyandnot to impose something. Whendid youdecide to start shooting lms in Serbia? - I worked on some lms inYugoslavia thatmy fatherproduced, suchasTheSecret of the Monastery Brandy, directed by Slobodan Šijan, and prior to that I worked in ZagrebonanAmericanmini-series. Iwas in Cannes for the rst time at the age of 16, whenthecompetitionprogrammeincluded the lmSpecialTreatment andMilenaDravić received an award, then I later helped Goran Paskaljević make the lm Someone Else’sAmerica. I amconnectedtothis region emotionally, but I always alsobelieved that good lms can be created here. However, RalphFiennes isthepersonwhobroughtme backtoSerbiafully,withthe lmCoriolanus. You didn’t bring him, rather he brought you? - Precisely. It was a very strange set of circumstances.We’d just completedshooting for The Duchess. Ralph was preparing to shoot Coriolanus and during one dinner with me and my ex-husband he said that he already had producers fromAmerica and had been to see various locations, in Romania and Serbia, and that he really liked Serbia, to which my ex-husband responded –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 construction collapsed, so he called and asked me to join the teamand help. And that’s how I happened to return to Serbia. And how did the lm Minamata come about, which is currently being 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, became a co- nancier and spent aweekwith us here inSerbia. Hewas so impressed that hecalledmeseveralmonths later tosaythat he was working on a lm as a director and to ask if we could perhaps shoot it in Serbia. And so here we are. How is shooting progressing? - It’sprogressingexcellently.We’re recreated 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, Johnny 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 consider who their main talent is in a lm. You have to worry about him and take care of him.Theseareartistswhoareveryexposed andwe should assist and unburden them, creating an atmosphere inwhich they feel comfortable so that they can give the best of themselves.
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