The author of the book, director Patrik Hartl, said during the presentation of the film that he thought he named his son. Is it true?
You see, this is interesting information. If it’s true, I’m glad. I had no idea …
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How long have you known each other?
We have loved each other for almost our lives, since we met as students. It’s been twenty-five years. I did DAMU then, he did FAMU. He came to us regularly at DAMU as a director. We are connected together for life. Thanks to him, I then saw a lot of theatrical productions.
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Representatives of the film Prvok, Šampón, Tečka and Karel appeared on 15 July 2021 at a press conference on the occasion of the film’s release in cinemas. Pictured from left are Martin Pechlát, David Švehlík, Hynek Čermák and Martin Hofmann.
Photo: Jan Handrejch, Law
But you didn’t read the book according to which his new film was made. Or am i wrong?
He didn’t read. I just have it that way. If I have to prepare for a role, for a film that is made according to a book, I want to have a clear head. I know very well that in her story it must be deleted that there is a kind of elevator. If I read the book, it would distract me from the script.
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And did you see yourself in the character of Dot, a soldier with a tender heart, at least then, so to speak, at first good?
After reading the script, yes. The dot I’m playing is a soldier. And it is probably well known that I have a positive attitude towards the army. In addition, I have certain habits and skills that were suitable for Dot.
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You play muscle, but actually a little stupid. You got a similar role in the film Národní třída. Is it a coincidence?
No, I get these roles because I’m stupid … That was a beautiful question, thank you very much for it.
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Jan Cina and Hynek Čermák in Národní třída.
Photo: negative
But I’m still going. Aren’t similar roles more like your deliberate retreat from a certain heroic box?
This question is not for me. I’m just an actor, I play what people offer me.
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In the case of Hartl’s film, you are lucky to have cast other friends of yours, Martin Hofmann, David Švehlík and Martin Pechlát. I know about you that you’re a soul scout. Would you take them on a chunk?
Boys? Calmly. I like to spend the night in nature.
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When we are at a similar bivouac, are you still going to Banat?
I haven’t been there in two years. I have a cottage in Rovensko, but I probably won’t get to Romania for work this year either. I play on two summer stages, in Shakespeare festivities and in Voděrádky near Říčany with the Dejvice Theater. If I count it, I have about thirty-five performances waiting for me in the summer.
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It’s been raining a lot lately. Have you finished everything yet?
So far, always (the interview took place on July 15 on the occasion of the film’s premiere, editor’s note). We even went to the church in Hradec nad Moravicí with the spectators, where we finished everything without props, without costumes. It was raining really bad, but they wanted to see it. That’s good news for me.
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I was afraid that people would resent culture after everything we faced. She’s been talked about really in a way she didn’t deserve lately. There have even been indiscriminate attacks on the government. At times, it seemed that we, the cultural workers, were a waste society. Not one of us addressed the question of whether the audience would return.
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They came back. So far a lot to the theaters, to concerts.
But this is good information about our nation. People go to the theater, to concerts, they want experiences together, they want to share culture. That’s really great! The following months I have a lot condensed thanks to them.
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Jaroslav Plesl, Lenka Vlasáková and Hynek Čermák in the performance Hamlet, on the summer stage as part of the Shakespearean festivities.
Photo: Lubor Mrázek / SCHOK AGENCY
We work really hard now. There are many premieres, the performances have been postponed. What’s more, it looks like cinemas and theaters could close again in September … Sometimes it’s hard, sometimes we can look uncomfortable, unhappy, but that’s not true. Our work is like any other. Sometimes she has little, sometimes a lot. This is how it is in more professions.
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In your opinion, is Prvok, Šampón, Tečka a Karel a film that can move cinemas?
I think so. The Mothers have already succeeded in this (comedy by Vojtěch Moravec, editor’s note). I hope that Prvok will be another reason to go to a nice Czech film made without compromise.
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Do you mean financial?
Not only. Patrik Hartl had clear ideas of what he wanted to put into the story visually. He was able to defend them. Thank God he also found an enlightened producer. In addition, he was able to create specific situations from the book in a completely different way than he had originally written. It can be seen that he has extensive experience in theater.
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He can take foreign ideas, and since he knew the script in detail, he knew how it would help the film. He took full advantage of being the author of the original and the director of the film. He did not follow the path of humiliating Czech film, he did not compromise.
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The quality can be seen on it. That’s why I think it’s a film that has a halo in it. It makes sense to pay money for it, go to the cinema, not download it somewhere from the web.
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Are you reading a book now, playing an audiobook read by Martin Hofmann?
Neither. I don’t relax while reading. I work with lyrics. I don’t even play audiobooks. I convince them myself, they are my job too. If I want to relax, I’d rather go out into nature.
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This brings us back to summer, to campfires. Did your interest in folk also arise during fooling around?
It arose somehow in parallel, or even earlier. I grew up on Jarek Nohavic and Karl Plihal. When I was about sixteen or seventeen, my friends and I even started a band, we played at Porto. I just like folk.
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