In 1991 you graduated at FAMU. It was two years after Velver Revolution.Did you feel that now you can show the world how to make real movie which you wanted to make?Did you feel that freedom or it wasn´t that rosey at it sounds? 

In 1989 I was in my fourth class and tried to be somewhere close to all those dramatic, bubbling events.It was kind of social euphory, pleasure of freedom, freedom to travel,Václav Havel being a president. I remember more this than any kind of creativity affluence.The best decision was made by those who left country and went to study abroad. The rest of us just enjoyed the freedom.Of course Petr Jarchovský and me knew, that new way to our dreams fulfillment is being opened and in that time “ Šakalí léta” were born.

When director makes his first movie and gets “ Český lev” award, then comes second movie and then another “ Český lev” and Academy award nomination, is it difficult to stay with both feet firmly on the gound and don´t think it will go like this forever and flood of foreign offers will come?

Well, the way you said that it looks like piece of cake and that it came together but in case of “ Šakalí léta” it was first year of “ Česky lev” award, it had no tradition and no one knew if it goes again or not.” Šakalí léta” it being a musical had it´s limit in foreign distribution cos it had lyrics and music by Ivan Hlas and people abroad wouldn´t get it. But these songs are still being played in theatre to these days so I think it had something to say.The Academy award nomination came with third film “ Pelíšky” and between them and my debut went lots of water under the bridge and at that time we couldn´t get enough money and any producer. So in hindsight it looks like fairy tale but in live we had many sleepless nights and many headaches from plenty of doubts.

How can you decipher combination of first movie, first award” Český lev”. Was it a bingo in all categories such as camera, screenplay, cast, right time, luck? Can you take it as a master which you can recycle again and again or you forget that with your next movie?

“Šakalí léta” was very successful movie if we look at it from current position, it was seen by 500 000 people but among Czech films of that year it was on fifth or sixth position below films like “ Nahota na prodej” or “ Andělské oči”.From commercial point of view it wasn´t a megahit cos it was very expensive to make.But going back to your question, I think you can repeat same formula only once and even than I think it´s the way to hell.Of course there are cases of say Harry Potter or James Bond which has good basis from book story or really charismatic hero. In Czech films it was case of serie “ Básníci” which I think had graduation tendency but it is rare exception .So I think you can recycle same story once but not twice or more.

If you make your first movie, first take, is it important to have open mind, analyze everything and even make mistakes or to boost your authority you must make it look as if it just piece of cake and you know it like palm of your hand?

You know, you don´t have to gain that authority, cos you are a director you simply have it automatically. You have full score and you can only loose your points. Of course not all crew members are convinced you are taking the ship right direction. People are mostly, I don´t say “always” but mostly loyal to director, so it´s not the situation where you would have to fight for that so hard not even at the age of 25, when I made the debut. Point is, not to loose your authority. I think you can loose it when you pretend your authority where it isn´t..I subconsciously knew that 90% of my crew hasn´t got a clue what is going on and can´t judge it. They can even think whatever they like. When they are true pros, they just do their job and responsibility is still on your shoulders. That authority is upped by your success, sometimes they belief is higher then you deserve. This can mistify you when they say” today it was fucking brilliant, boss” because they maybe want to go home early and think that if you made it this time it will be the same next time. So I try to be more skeptical towards what I do cos that crew reflection can do you harm if they are too positive.

When director is established and successful, is it difficult to experiment, take something totally different to what you have done before. People can jettison you easily, can´t they?

In my case, you have to bear in mind that Petr Jarchovský and me is a duo and we hype each other out.At the beginning of our cooperation there was major part played by our schoolmate Ondřej Trojan, so when we changed direction after film “ Pupendo” it wasn´t sudden decision, we were supported by Ondřej. When I say it was challenge or pleasure I can´t hide the fact we were in that decision united and that lasted up until “ Medvídek” and “ U mě dobrý” movie.

Do you think that state support to our film industry is on sufficient level or it is miles behind say Scandinavia?

I was in Scandinavia many times and can say, that although the state support is way much bigger there are always skeptical views that the support could be bigger here or better there. My view will be also subjective so better ask somebody with global view and who is bit distant. I take it from point of view, how much support do have my projects and don´t take it as selfishness. I am pleased that there is some kind of state support. Sadly, after those 25 years Czech film industry didn´t become and never becomes international phenomenon, so foreign investors would plough their money into our business. So lets hope and see and be thankful for what we have.

Can as successful director as you be independent or you have to beg for money. Is your famous name advantage or disadvantage in that process?

Hard question, not an easy answer. I think that almost everybody s in the position as if he starts all over again.If we are to film say “ Pelíšky2” it is likely that getting money would be easier, but it doesn´t work that way. It is advantage and disadvantage that I have many successful films under my belt. If you make your first film, you can raise the interest, big hopes, you still can be that big international star, but in my case, it is a limit.When you are young, unknown, you have more energy, more idealism. When you have some success behind yourself you naturally have some skepticism and limits. There aren´t that many institution here, who finance films and it can easily happen that director of one of them doesn´t like me. Take it as am example but Czech television gave us a cold shoulder at a time when we filmed “ Kawasakiho růže”. There was no way they would show our films. If it wasn´t for Mr. Kýrman, producer who built around our films wall of comedies from Michael Vieweg, which are sponsored way better, and sold it to TV NOVA as a packet we would be done.Czech television thought we are dated and they can´t expect anything good from us anymore.

How you yourself look at independent film and what do you imagine under the name “independent film”?

I think the word “ independent” is taken from world cinematography, where films are backed by big Hollywood studios, which are made for whole world, they have star studded cast, wide distribution and media support. There are also films that are made independently at these studios. It can be tricky even today since some director act very independently even inside these studios. There also people who make movies outside big studios or outside mainstream but in their mentality and attitude they work as if they were commercial studios. There is of course a difference if film made by Jan Svěrák or me is made with view that it will go to multiplex or if Čestmír Kopecký makes a movie almost at his knees.I think that the name doesn´t mean that something is made with inner freedom and something isn´t.I would rather use name “ author´s film” which are made from author´s incentives and it doesn´t mean he had to write his own script. Petr Jarchovský and me made films like “ Horem pádem” or “ Kawasakiho růže” as author´s movies not as a deal that someone came with story and cast.

Do you take independent, amateur film makers who make films for pleasure as pain in the ass or as the fresh air, promise for future?

No, not as pain in the ass, no way. There were always made films with mainstream potential and commercial ambitions and they were aimed at wide audience. Next to it were made independent and amateur films, whatever we call them. But I think that biggest problem is that those films from the “ middle” are vanishing. Films that were made from inner incentives, in natural conditions with normal budget, in normal production units. That films are fewer and fewer. On one side there are made films with international production and we don´t know at whom are they aimed and story doesn´t have any logic, and on other hand there are films made by amateurs with good stories which won´t even get to viewers. I must admit I don´t have enough information about independent film scene so I can´t comment it. I always hope that there will be made films from inner directors feelings and will go their own way, they will discover something new, but it´s harder and harder.