This translation includes the same interviews you can hear on the extras of Bathory, in English.
www.sms.cz/film/bathory Virgil published the link a couple months ago.
Drama / history / thriller, Slovakia / Czech Republic / UK / Hungary, 2007, 140 min. From 12 years
Kinopremiéra in the Czech Republic and SK 10.7.2008
Now in cinemas 14th most
Directed by: Juraj Jakubisko
Actors: Anna Frielová, Karel Roden, Hans Matheson, Vincent Regan, Franco Nero, more ...
Juraj Jakubisko (interview)
You're a film director and screenwriter. Almost all of your actors on your argues that throughout the filming you almost eat or sleep, although they have a much shorter time after feeling extreme fatigue. Where to take so much energy?
Of all the stages of movie passes, I prefer the implementation, a time of shooting. Most people consume energy when the movie invents, though it creates. The director must constantly fight the obstacles. Energy grows directly in proportion with the entire staff and is important mainly for the moment to start the project. Of course, that a man it can not exhaust all in the shooting because it still waiting endless path finishing where you can improve a lot, but also ruin, or that do something else. You must have something from the invention remain.
Often mention of the fact that, after Elizabeth Bathory is not reserved (except for a few manuscripts) no object, which would be touched.
It was a man who claimed that some of the clothes and a metal chest, but we lost contact on him. I know that somewhere in the vicinity of Pieš any and is willing to give us. But I think the official sources - in museums, whether in Slovakia or in Hungary - is not nothing.
How often do you visit the castle ruins Èachtického before the film started shooting? You've walked there for inspiration? Breathed a secret to you that place?
When I was shooting for Èachtickém Castle - and I was there several times, supplied to me talking historians, which I read. An even told: "When I came, to me, the dýchla wall of the blood and murder, calling the victims." I went there because of something else, I was watching what hradu Èachtického of a legend remains, and above all I was looking for, whether there is not something that inspired me a little bit different way. To me, I nedýchala or blood, or shouts, as I neuvažoval of Bathory as the killer. I saw only ruins, which is in a pathetic state and found that we can not shoot in any part of, or underground, and that we need to look for something else, like.
Do you believe that they are still sometimes still manage to cleanse the reputation of Elizabeth and finds even her body?
I believe. Today's younger generation is used to make your own opinion. Needs only information to which it is today, thank total unrestricted access. In the case of Bathory lack of evidence. So I work with historical facts, logic and imagination. Èachtická legend has many faces, and you want viewers of the film show. My Elizabeth Bathory was very powerful, but against its enemies finally powerless. Artificial be cruel and nìžná. She was the mother and lover, an angel and a demon, sacrifice and vrah. Make many years after her death the question of whether they were guilty or innocent. His film looking for an answer.
What are your feelings so shortly before the premiere? It is a relief that it ended so great work, or stress, as viewers take?
Of course, the feelings of the premiere are anguished as always. There is no safe is how to make a good movie, but there are a number of ways to make a bad movie. Any director who natoèí and the worst thing in my life, I still think that this could have success and that it was perhaps his best film.
Anna Friel (interview)
How did you get the role of Elizabeth Bathory in the film Juraj Jakubisko?
It is a very long story. I read the scenario when the casting was to find a star for the lead role Elizabeth. Finally, he selected Famke Janssenovou, which frustrated me a little because I wanted that role. I felt so strongly that I wrote him a letter , to tell him the movie excited me and how much I wanted to play Elizabeth, and I hoped that one day our fate will bring that oposrtunity, if it happened in this project. Fortunately, the actress the asked first couldn't do it, and they returned to me. Letìla my interview with Juraj and Dean and four months after I was there.
What do you think the character Elizabeth Bathory?
Elizabeth Bathory is the best figure an actress can play. Passes all the running in the beautiful carriage, šermováním, to horseback riding. It is a strong personality, a hero in the true sense. A great fighters full of passion and a great lover.
Work on the film changed your view of the Elizabeth Bathory?
Every story has two sides. Elizabeth Bathory is commonly perceived as ferocious vampýrka, widow bathers in human blood, which adds to the attractiveness of the project. But I think that in the movie is much smarter. It was a woman who knew a lot about medicine, was very well-read, spoke many languages and I think that the bath in human blood, was too smart. Blood clotting is a fast and solidifies, so it is not easy to bathe in it - and that swimming would not be too good. I felt that it was still very uncertain, because around a lot of strong men. I think the story as it tells the film is more realistic.
How do you like cooperation with Juraj Jakubisko?
Juraj I absolutely love. It was a little bit hard at the beginning of because of communication problems we've had a lot of time on the test (rehearsal). But Juraj worked with me and modified to meet the role that I visualised. He led me to work hard, I always had the feeling that he wanted to succeed, that I was good, so I always round popohánìl. Awfully Dre, I never (worked?) so much in my life not been. Very me after the miss, like me to heart. Will forever associate director from whom I learned a lot.
You may remember the most difficult moment?
In this film was a lot of heavy moments, as a huge production. I think I lost the nerves when I was in the last scene with her almost burnt. That was hard.
And how did this happen?
Stage I was ready, should I sing the whole song - anthem - and Juraj said: "When dozpíváš to the end and the room will still burn, start singing from the beginning." Text songs were glued to the ceiling above the bed, it was difficult, in Slovak , And the evening before had little change. Everything was very hurried and the whole room is suddenly ocitnul in flames. I barely deleted first two words of your mouth, I have not felt face. I think in the film that scene remains exactly like this.
What were your favorite?
Beautiful images. Some scenes with lány poppy and lavender, beautiful feeling when they crossed a man at sunset in the surrey of 17 century, drawn huge black horses.
And what problems did you have(?)?
When I bath in the copper bath, and I found that I was allergic to it. I told you that I am now Bathory bruises amd all. And I had a problem with the scene where Elizabeth husband sits on his shoulders as riding, screaming "Hajra, hajra!" And waving a sword over your head.
When you have visited a number of shooting exteriors. How do you liked? Do you have any favorite place?
I think I most like exterior in the mountains in Slovakia. You have opened the window and behind a beautiful view of the snowy mountains and yellow box. It was beautiful. Then I liked even Toèník and Telè. And not all castles in which we recorded are amazing. But four months I lived with suitcases, so I enjoyed, to come home and vybalím him.
Shot you have ever been to so many exterior?
Never. I could not believe them in one film may be so. It was a very ambitious project. I told you that this is a very demanding that we still have to stay in a castle and pretend that they are sixteen. Oh, no, we have all sixteen project and the outcome is of course to know, the film is amazingly narrative.
Try to compare your initial expectations and the actual shooting.
I always knew that I expect great adventure. And I knew that this would be pretty hard work, but the drama were not only in the film, but also for him. This is not to say that this is wrong, but I seemed like I prolétla tornado, and my life is not exactly settled. I went into the film like a man with certain characteristics, and I guess that it came out here as someone else completely different. I feel stronger, I think I can handle anything.
And you would work with Juraj again?
Yes. I will miss Bathory. Yes, I would like to work with Juraj again.
What do you think of the Czech Staff?
They are undoubtedly the biggest at the grind, which I have ever encountered. They would spend entire days, six weeks without a break! I have been extremely impressed. I told you that when I get back to England, it will be a nice shock for me: "Come on, twelve hours a day! But go, what are you talking about? Sleep? Food? Who needs it? "
Hans Matheson (interview)
How did you come to the role of Caravaggio in the film Juraj Jakubisko?
It was through Anna Friel. She called me. A common friend, was talking with her about me and it seemed that it would be interesting if I was in this role. Anna called me and said, 'You know what? You 'interested in reading the script? "And I said" Oh, yeah ... "But it was also an interesting coincidence, because the two weeks before I bought three Caravaggiovy reproduction in the museum in London. Caravaggio, I've always loved, totally fascinated me. I went to the exhibition, but I was not there because it was told to go, so I went back and I decided that it will buy. I hang them on the hall and in two weeks my phone calls from production. I had a special feeling, a premonition ... I listen to such things. You speak to your intuition.your internal bells and I like that. So I said, it is to hear and zariskuju.
What do you think of character Caravaggio?
I bought a large biography Caravaggio, and I began to read it before I met with Juraj. Surprised me how much information information there is, and the intrigue around him. When I met Juraj, I showed him the book and he said to me: "Hans, we have created our own Caravaggio." To me it was liberating, because it is difficult to carry on my shoulders the weight of a strong and influential personality. Caravaggio is the story of Jurajovou's invention. So that it can not be seen as a document of Caravaggio, for me it's more emotional way, and the relationship between the characters. Caravaggio is in the story as a catalyst and as little as of a challenge for the aristocracy and how they behavior towards Elizabeth. Caravaggio wants to learn more about Elizabeth, when painting, wants to break her armor, which is on the surface, and capture the inside, what really is. And that trait of his is for me very important. Certain elements I took from the book, he was erratic and hasty, but had emotional depths. He was free, and people were not suppose to be free. I think a lot of historical figures, it was considered murderers just because they behave freely and openly.
Your role has changed your perception of a genuine Caravaggio?
Who Caravaggio was, nobody knows. And this is it, when someone is as famous as Caravaggio. Who can really know? I think the only thing really changed is the way it look at the artist and how he was judged.
Little change issue ... What is the film? (gonna have to ask for a re-translate on that one)
... It was a wonderful night and he told me that the film is about secrets. I thought that it was cleverly told and I agreed. Each character has a secret and it also destroys them, all learn something, and challenge each other. For Caravaggio it is primarily that of someone he's killed in the past and now runs and hides himself, I would say that, and therefore, he can not sleep at night. The the film is about secrets.
How are you with Juraj worked as a director?
He is very different from the directors with whom I worked in the past because Juraj you really believe he respects you, he trusts and respects that, what you do with the role is good. He gives you the freedom to do really what you want. Gives you the comments very interesting comments, but you want to create you character alone. He wants for you to work. He wants you to find a comfortable position in which you play. I never works that way, as in the theater you have four or five weeks that you find "room" for the work, and pick one that you are the best at. And in the film basically come and you have to handle in one day. I think Juraj really wants you to work even more than other directors because after he wants you to know exactly what you are doing. The real challenge was to translate and talk to him, as well as figure out what he meant. But a lot of things were said without words, a lot of it tells you the way you watch. It is with you and with you, and his energy, created from me and it was a wonderful world in which I had the opportunity to play. I think Juraj's Caravaggio is a wonderful invention, I would say that the scenarios are not as novels. Never in my life I have read a scenario that would be similar to the novel.
How do you work with a director who does not speak your language and you speak the same?
Actually, it's difficult because you have to work twice as much. When you makes recordings, you have a little time, so the tension is very strong and maybe you do just two or three shots, as the sun falls. Translation sometimes takes time, creates misunderstandings and things lost in translation. I think with a lot of people. Finally, I find it easier to just do something, instinctively, and he just said yes or no and showed me physically and even emotionally, what did he mean by that. Sometimes things speak, a misunderstanding, and time is lost. Sometimes you have no nothing more than just something to do. I think we finally found the rhythm and tempo.
You have ever worked with a director who does not speak English?
I would like to work Juraj again. I thought I would very much with Juraj do some Shakespeare, because I think it would great Shakespeare production. Even though Shakespearùv language is very restrictive, the games are very dramatic and I feel that it would suit Juraj.
What you have been the hardest about the film?
Perhaps the language barrier. While I was there some embarrassing moments, like when I was running naked through the wilderness, it was embarrassing.
Why?
Well, there was a lot of men around who are looking at me. And you know, everybody got a little "problem" with the movement of certain lots, it is never easy.
Some dramatic moments?
There were plenty of dramatic moments. At the beginning of filming I felt very frustrated with not be able to communicate with Juraj. It takes some time before there is the relationship and trust. When you do not have the linguistic equipment and you can not say what you feel and perform they way you want to. I was desperate, because I wanted to do my best so that I did a good job. I felt alone. But that is normal for any film, it takes time, and at the end of the movie you realize that you are calm and happy environment with the other people. So at the beginning I have to say, I wasn't sure it would work. If we could ever find that peaceful place where we could properly work. But ultimately it worked.
And as possible moment?
I had a lot of fun during the shooting. I'm happy to dance to the music of the 80th years, but pretty badly. One of the best moment was when William, dialog coach, decided that we need this kind of bad dancing in the film. There was a moment when I played on the lute with other musicians in the scene where Elizabeth accidentally otrávena Nádasdym. There was a man, who danced incredibly, had the best movement of the hips, I 've ever seen in my life. We decided that, therefore I am there a little dance as the 80th years, so I hope to stay in the film.
How would you compare your initial expectations with the actual shooting?
I knew from the beginning that it will be compared to the production of America experience, but this is what I like in the movie. Sometimes you have to take the risk. It was funny, because I realized once on the scene: "Oh, God, so that means doing the movies! Finally! "It was great, fantastic, really.
Anna have in the middle of Europe a lot of fans. Jakubisko never talked bad about Anna, vice versa. 
