44 | mapoput Diane odakle godda smo, možda najveći doprinos sećanja na nju inspiracija? Možda će njena priča podstaći nekoga da se ohrabri i učini nešto veličanstveno. Verujete li u to? – Verujem. Rad na Diani za celu filmsku ekipu bio je jedno drugačije iskustvo, stalno smo učili, stalno smo se osećali mali pred tim delom i teralo nas je da budemo bolji, damanje govorimo kako je naše vreme teško i primimo se posla i svog cilja. Osećamda na veliki deo publike kroz filmdopire taDianina snaga i poruka. Manite se glupih rasprava i strahova, činite dobro i borite se za ono što je životno važno. SpilbergjeispričaopričuoŠindleru, štamislite o tomfilmu, da li vas je i on na neki način podstakao? – Dnevnik Diane Budisavljević se kroz dugi period stvaranja, dakledok smo razvijali projekt, zvao Dianina lista. Bio je tonaslov koji je nekako pomagao 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 filmske i stvarne priče. Kod Šindlera je zanimljiva i majstorski filmski ispričana transformacija od čoveka koji želi da zaradi na besplatnoj radnoj snazi i tako počinje da spasava Jevreje, da bi na kraju shvatio da je to neuporedivo vrednije od novca. Kod Diane nema obrta, ona deluje intuicijom, iz čistog humanizma. Kod nje postoji antiklimaks jer ni nakon tolike žrtve nema hepienda. Filmovi imajujakuticajnavas, zato ihnegledatedvaputa, niti u velikimkoličinama.Možete li da izdvojite neki koji vas je proganjaonajduže 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 žive sa mnom. Volela bih da snimim dobru komediju, da nasmejem ljude, to je veliko umeće i takođe nešto što ljudi dugo nose sa sobom. Radeći Dnevnik Diane Budisavljević, najčešće sam mislila o Drvetu života TerensaMalika, Satima StivenaDeldrija, filmu Pijano DžejnKempion, H8 Nikole Tanhofera, Plavo i Dvostruki život Veronike Kristofa Kislovskog i Dodirnuti bezdan Kevina Makdonalda. 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 Austrijanka iz Insbruka koja je udajom za dr Julija Budisavljevića došla u Zagreb nakon Velikog rata 1919. S Julijem jesam u dalekom srodstvu i njegovo ime sam čula u porodici 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 Diarymaking its way tome in 2010. An acquaintance thought wemight be related and that I would thus know somethingmore about Diana, but I’d never previously heard of her.We are not blood relatives, as Diana was an Austrian lady from Innsbruck whomarried 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. tallyuncoveredat the JasenovacMuseum, witharchivefootage,investigations,witness testimoniesetc.Youspenttenyearspreparing the lm.Why did it take so long? This is about the largest civilian campaign to save children inWorldWar II. Imagine when you readsomethinglikethat, somethingsohuge, and you realise that it has hardlybeenaddressedat all historically. What a responsibility that is, what a task.The rst three yearswe spent just investigating.Wespoketooverahundredpeople, searched through25archives inCroatia, SerbiaandAustria, searchingforeverythingwecould ndaboutDiana andher associates; we searched for survivors and documents and archival materials, in order to be certain inour story. Everything that’s in this lmis veri able.Althoughthis isastoryfromDiana’sperspective, basedonherDiary, agreatdeal of attention was paid to ensuring that everything we includedinthe lmiscredible.Youcan’t restorefaith in peoplewith lies. Dianawaited a long time and deserved for us to tell her story credibly. Apart fromthe gratitude and admiration that we all owe to people like Diana, wherever we are from, perhaps the greatest contribution to remembering her is inspiration. Perhaps her storywillencouragesomeonetopluck up the courage to do somethingmagni cent. Do youbelieve that? I believe so.WorkingonDianawas adifferent experience for theentire lmcrew,we were constantly learning, constantly feeling small in the faceof thisdeed, andpushingus to be better, to speak less about how tough our times are, and toget towork andachieving our goal. I feel that, through the lm, a large part of the audience is reached by Diana’s strength andmessage. Turn away from stupidargumentsandfears,dogoodand ght for what’s important in life. Spielberg told the story of Schindler. What do you think of that lm; did he encourage you inanyway? The Diary of Diana Budisavljević went through a long period of creation, and while we were developing the project it was calledDiana’s List. That was a title that somehowhelpedpeopleunderstandwhat the lm was about, which historical periodwewere in, and that the lmwas about rescuing people. But Schindler and Diana are two di erent stories in both lm and reality. Schindler is interesting, and masterfully recounted on lm, as a transformation from a man who wants tomakemoney on free labour and save Jews along the way, to someone who eventually realises that saving lives is in nitelymore valuable than money. With Diana there is no transformation, she acts out of intuition, out of pure humanism. With her there is an anticlimax 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 twiceorinlargenumbers.Canyousingleoutonethathauntedyouthelongestandleftanimpressionthatdoesn’t fade over time? Forme lmsarenot fun, I cannot relaxto them; theyhauntmewiththeir images,which aredeeplyembedded inmeandcontinueto livewithme. I’dlovetomakeagoodcomedy, tomakepeople laugh, that’s agreat skill, and also something that people carrywith them for a long time. Whilst working on the Diary of Diana Budisavljević, I most often thought of TerrenceMalick’sTheTree of Life, Stephen Daldry’sTheHours, JaneCampion’sThePiano, Nikola Tanhofer’s H-8, Krzysztof Kieślowski’s Three Colours: Blue and The Double Life of Véronique, and Kevin Macdonald’s Touching theVoid.
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