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In 1983, I wrote the screenplay with such unbelievable frivolity. At that time, it was quite common for a film to go through numerous bureaucratic layers prior to getting an approval and slowly reaching Moscow, where it would frequently be rejected. The problem was that I wrote a screenplay for a film that I really had the intention of making, in comparison to my previous films, when I would send one screenplay and make a completely different film. They caught me with the film The Triangle. When Perestroika was introduced, we gained some freedom, but the economy fluctuated from year to year. I remember the year 1983 as an exceptionally difficult one, and when there is an economic crisis, culture suffers in a way that what is and is not permitted is tightly controlled. I tried to trick them by giving a new title to my film and that is how I came up with Breakfast on the Grass and the scene that, in the sense of its dramaturgy, emphasises the absurdity present in the whole film. We did not achieve any success. In 1986 changes took place in the leadership of the Film Institute in Moscow, so we decided to send it again. After a few months of silence, I received an official statement, stating that the screenplay was very good and that they were looking forward to such a project. Regarding the provocative content, we were expecting a scandal of sorts, and it is always good to link a scandal to a film, but nothing happened. But the film was sent to a festival, which was rather unusual, as only artists from Moscow would get their films sent to festivals. That was obviously the beginning of a new era.
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Scenarij mi je još 1983. izašao iz glave s nevjerojatnom lakoćom. Tih godina je uobičajeno bilo da film prije odobrenja prolazi kroz mnogo birokratskih slojeva i tako malo po malo dođe do Moskve gdje bi film redovno bio odbijan. Problem je bio u tome što sam napisao scenarij koji sam zbilja i mislio realizirati za razliku od prijašnjih filmova gdje sam slao jedan scenarij, a realizirao sasvim drugačiji film. Uhvatili su me kod filma "Trokut". Kad je došla Perestrojka, bilo je nešto slobode, ali je ekonomija oscilirala iz godine u godinu. Pamtim tu '83. kao posebno tešku, a kad je ekonomska kriza uglavnom srežu kulturu i to na način da nametnu posebnu kontrolu onoga što se smije i ne smije. Probao sam trik sa novim imenom filma i tu sam došao do naziva "Doručak na travi" kao i do scene koja u dramaturškom smislu samo još pojačava besmisao prisutan u cijelom filmu. Nikakvog uspjeha nismo imali. Tek 1986. je došlo do promijene u vrhu instituta za film u Moskvi pa smo ponovo poslali. Nakon par mjeseci šutnje stigla je službena izjava kako je to jako dobar scenarij i kako su jedva čekali takav projekt. S obzirom na provokativan materijal očekivali smo neki skandal, uvijek je dobro imati skandal uz film, ali nije se dogodilo ništa. Film su poslali na festival, što je bilo dosta neobično, jer prije toga su se slali samo umjetnici iz Moskve. Počela su, očito, neka nova vremena.
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