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Re: Z~elary

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  • amiak27
    ... ONDREJ TROJAN An Interview with the Director You built the cabins that we see in Zelary? The cabins that we needed for our film all had the problem that
    Message 1 of 28 , Apr 14 2:36 AM
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      > or better yet http://tinyurl.com/2wfbg8
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      ONDREJ TROJAN
      An Interview with the Director

      You built the cabins that we see in Zelary?
      The cabins that we needed for our film all had the problem that nearly
      every one of them that would have been perfect for us has a newer
      house near it. And when we finally found something, then it was in
      such an inaccessible location that we could not even reach them with
      tractors in the rain. There were days when we needed the help of
      horses to get lights, cameras and all the equipment up to the
      locations, like in the 19th century. Three kilometers so we could
      film. That brought the crew together in a great way; even the locals
      and the crew. So we kept moving from place to place. It was nothing
      strange to run into an actor carrying a lamp stand up the hill to the
      set. Everyone would help out when it was necessary, voluntarily,
      because everyone knew that the next day they could be the ones to need
      help.
      We decided to build the main cabin. We were inspired by a man who
      asked us if we wanted to buy a cabin. We asked which one and he showed
      us. It was taken apart and ordered on his yard. The beams were all
      numbered. But in the end this cabin was not right for us, we needed to
      make it more according to our ideas. In the end we really did buy and
      take apart an old cabin. We used its beams to build a life-size set
      where our two main characters lived and was according to our needs and
      was in harmony with nature. We also built an interior, which we used
      in the studio because cabins are small and it would be very difficult
      to film in one.

      We tried to put together a young, active crew that we knew could
      handle a work-out because its takes a great deal of energy to film in
      the mountains.

      Q. - Zelary is an international project. What nationalities can be
      seen on camera?
      It's international because the budget climbed into heights that were
      impossible to finance in the Czech Republic. That is why we looked for
      financing abroad. Czech, Austrian and Slovak actors, as well as a
      Hungarian, appear in the film. Basically we were able to renew
      Austro-Hungarian cooperation. There was also Jan Tríska, who has been
      living in the United States for a long time, and actors from Germany.

      Q. - What about the costumes?
      The northern part of the Beskydy Mountains from Rožnov north and then
      to the east into Slovakia to Žilina and the Lesser Fatra is one region
      with very similar architecture of the cabins, similar period clothing,
      similar music and traditions. Therefore, the costumes were collected
      from Slovakia and the area surrounding Ostravice. We feared that there
      would be too many folk costumes in our movie countryside. The clothes
      of Zelary are a mix of traditional rural clothing and the increasing
      influence of the city, as was the case at the time. We used many
      period photographs and Katarina Bieliková put a lot of work into it. I
      was very satisfied.

      Filming conditions:
      The filming became difficult, even extreme. We filmed with a six-month
      old toddler and with 90-year old actress Zita Kabátová. We had to film
      during all four seasons where we needed 36 degrees or minus 20, where
      film in the camera would break apart and actors on the set were freezing.

      From the leading actress, Anna Geislerová
      The filming was very difficult. Which season was the most complicated
      for you?
      None of them, they were all beautiful. It was beautiful shooting! The
      biggest crisis was probably in the winter; but not because it was cold
      or that I was cold, but that because my notions were not the same as
      what we were filming. In terms of difficulty, then the hardest thing
      was riding that awful carriage. That was terrible and we almost had to
      have a stunt double even though it looks absolutely easy. We had an
      absolutely rickety wagon, a horse who refused to cooperate and the
      Hungarian wasn't able to handle it very well. So there were a couple
      crisis situations. After that, just sitting on that wagon was a bit of
      a traumatic experience for me. I didn't like that. And then I didn't
      like running in the rain. Although, I liked it in the end because I
      was such a hero for the entire crew and all everybody did was take
      care of me. They kept brining me warm drinks and warm socks. I liked that.

      And finally a comment from the director's brother, Ivan Trojan, as the
      man who has only a few minutes on screen but starts and ends the story
      with the heroine:
      What part of the shooting did you take part in?
      I was there the first day of filming. We filmed the absolute end of
      the film and it was spring, but it was still snowing in the Slovak
      mountains. Aňa Geislerová and I had to look fifteen years older. Then
      we filmed the fall in Prague.
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