What actually brought you to the topic?
I loved the radio as a child. And then I read the book From the Microphone to the Listeners, which charts the stages of radio broadcasting, and I realized that radio used to be the most powerful medium, the only one that could move people.
That was fascinating to me. Even its editors felt that they were part of something revolutionary. And what moved me the most was the chapter on the Editorial Office of International Life in 1968 and the feelings of the individuals who were responsible for how those turning points would be viewed from now on.
Which of the witnesses inspired you when writing the script?
There were more of them. I spoke with Jan Petránek, Jan Dobrovský, Vladimír Príkazský, who was not directly a member of the Editorial Board of International Life, but worked closely with them. However, the main character was Věra Šťovíčková, who is played by Táňa Pauhofová in the film. For me, she was the key to others, especially in terms of their trust in me. She opened the door to them for me and at the same time gave me the most information.
On the waves. With burritos and wine, with Mádl, Kotek and falling Majer
She even hid something she had never said before, and that was very pleasant for me.
Of course, you yourself have no experience with that time, yet there is still a strong generation of those who remember it. How did you work with this knowledge?
Of course, there is responsibility and commitment involved, but I think it was more of an advantage. Also because when they told me about those events, it gave me a completely different feeling than what I get from various documents or from what we learned at school. At some point I even got the impression that it was somewhat more authentic.
Not only what they experienced, but also how they talk about it and what it meant to them. They didn’t necessarily see it as a huge loss and a trauma that set us up for years to come. The most interesting thing was that I asked the editors about some facts that I knew and expected them to confirm or deny them.
Photo: Milan Malíček, Law
Director Jiří Mádl dreamed up the film Waves. He had been preparing it for many years. It is scheduled to hit theaters in 2024.
And they began to argue with each other, remembering different things differently. But the author has to go somewhere at some point. Most often, I chose Věra Šťovíčková.
How did you manage to cast the characters of living people?
Well. From the beginning, I told myself that I would not cling to the form, but to the energy I felt from them. Moreover, I am not talking about all the members of the editorial staff, but about those who I felt I got to know through their stories.
It was interesting that I gradually discovered that the visual form sometimes goes hand in hand with the energy, so I have the feeling that three or four people sat down visually as well.
We will go to the sea and On the roof are small films, so to speak, but the Waves are a big project. Did you feel more pressure during its implementation?
I have already experienced a big project, I played in Bathory. We felt a lot of pressure back then. Here, on top of that, the responsibility I have for the film is added. It brings stress that you wake up with for half a year, and then it takes another half year to stop waking up with it.
We agreed with the producer Monika Kristlová that there will be one more small film between Pojedeme k morí and Vlnami. We had the material, and that’s how On the Roof was created. Art does not befit obstinacy. I think I had to grow up with the Waves myself.
We’re done, we ended up with five night shoots in the cold. We are now in the editing room, where we will finish soon. The premiere will be in August or autumn this year. It depends on the circumstances that we will know in March.
Jiří Mádl: Waves? I want young viewers to go to them as well. I don’t do Wikipedia
“We want light,” chanted a crowd of angry students in Prague’s Nerudova Street. In the film, they returned to 1967
2024-01-06 05:39:15
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