An interview with Vitezslav Tichy, a movie collector, a fan and an organizer or movie festivals. He owns a collection comprising of more than 20 000 movies. Find out what the atmosphere/situation with screening movies was before the Velvet revolution, how communistic committees picked movies to be screened and what the reasons for it were. The interview is filled with tips for Czechoslovakian movies which you find useful. The text also answers why posters were in both Czech and German language much earlier than during the 2nd World War.
Vitezslav Tichy organized 5th Bystrice film spring (Bystrice filmove jaro) this year. Jiri Labus was the main guest. Why a lower number of people attended the event and why artists see this phenomenon quite frequently.
I am happy you accepted my invitation for the interview. When I had met you for the first time, you appealed to me with your agreeableness and that you were interested in the interview. I was also interested in movies. I owned a collection which had around 1000 pieces. Your views and opinions about movies are different than mine. It may mean that the interview will be enriching for both of us.
How big is your collection? What does it include? What does it mean to you?
My collection is really big. Basically I collect everything what’s related to Czech movie industry. I own magazines since 1900. I have books from the olden days up to now. I have all sound movies but 3. I have around 1/3 of silent-era movies which remained well-preserved. I am still searching for them and collecting them. I own a movie library. I can remind myself any movie whenever I want to. I have information and data to all movies which have ever been filmed (Czech and Slovakian). I have very detailed information about all people who were involved in making movies. There are directors, screenwriters, topic authors, actors and cameramen among them. I also have a category “other”. There are music composers and so on. In total I have compiled a list of pieces of work of around 50 000 individuals. I have lots of photos and other stuff. That’s all.
How many movies do you have?
Almost 20 000 without 300.
How many movies do you have on VHS?
The VHS is additional. I didn’t include it in the figure above. I have around 3000 VHS. Each VHS had around 4 hours. So I have around 6000 movies on them. If they are feature movies, I already have them all on DVDs. I store period documentaries from 90s and other years when I had a chance to record them.
Last time you showed me interesting books in your library. Is there something what you can point out?
I think I showed you a World’s fair catalogue by Luis Buñuel. I have got acquainted with him and I have visited him a few times in Paris. He gave it to me as a present. It is a very unique piece. I don’t think there is anybody else who has it here. It’s never been published in the Czech Republic.
It was a World’s fair related to his works of art. It was held in 5 cities: Paris, London, Bonn and Mexico. I don’t remember the last one. It was published as a catalogue with all his pieces of work including pictures. Very rare piece.
I feel you’re very proud of it based on your face expression
Of course, I am. It is something no one else has.
I also have other precious things: České filmové hospodářství by Jiri Havelka. I have it almost complete. It’s statistics about all Czech movies.
There is information about silent movies from the beginning. He was a historian and a statistician of the Czech movie industry. There is everything what took place day after day in the movie industry, all information, including turnouts. I find it interesting.
Does the public know that the piece of work exist?
Only experts of movie industry. As far as I am concerned, even libraries don’t have it. I finished collecting it a few years ago. It was published as a yearbook.
You bought your first VCR after 1989. How long did you save up for it? What was it like when you bought it?
It is not possible to describe what it was like. I had saved up for it for a very long time. I hadn’t known I would buy it one month before I bought it. It was very quick. Such an opportunity appeared after 1989.
I knew 3 to 4 people who owned it. I can say that those people didn’t have it to watch cultural cultivated movies.
(Laugh) What did they watch? Tell us.
The better case was commercial foreign movies of low quality. It was porn most of the time. That was the worse case.
How much did the VCR cost and what was the brand?
I bought it and brought it from Austria. The brand was Elekta. It was a little bit cheaper than usual. It cost around 8 500 CZK at that time. It was quite a lot. The desire was so strong that even my wife didn’t say anything (laugh from both sides).
How much did you earn at that time?
I was a director of a hotel. I earned around 3000 to 3500 CZK per month.
It was expensive then.
Yes, it was. It was my dream of the last few years. It wasn’t possible to buy one in the Czech market. If it was possible, you could buy at Tuzex. Vouchers still existed. I don’t know if you’re aware of it. A famous movie Bony a klid (1988) is about it.
(Tuzex = state-run shops with western goods which weren’t normally available on the market during the communistic era due to foreign currencies shortage.)
At first I would have to be looking for vouchers or foreign currencies. Secondly it was cheaper to buy it in Austria. Austrians in the first village after the border were pleased that a Czech as me went shopping there. I don’t remember the agreement between me and my wife regarding who would buy what. I think that we bought an automatic washing machine. So we bought the washing machine and I bought the VCR.
So you could justify it.
Yes, that’s right.
What was the quality of empty VHS like? How much did they cost and where could you buy them?
A brand named Emgeton was produced in Zlin. They were of lower quality and less durable. At least it was said to be like that. They were a budget choice. When I started buying VHS cassettes, they cost around 300 CZK. It was a big pile of money.
Was the price for the Emgeton?
No, Emgeton was cheaper. I didn’t buy Emgeton. I remember going on a trip to Vienna. I visited a shop there. They had very cheap VHS. They cost round 60 to 70 CZK. Everybody who was offering it claimed they had perfect colours and high resolution. I had them only for black-and-white films. If you didn’t want to record colour movies, they were all right. I bought around 10 to 15 of them. Unfortunately they damaged VCR heads. They were bad.
Are you talking about the ones from Austria?
Yes, the quality corresponded to the price. It wasn’t a known brand. We know nowadays that it is not good to buy the cheapest stuff of the market. Later a friend of mine brought me Kodak VHS from Germany. They were yellow. I paid 100 CZK per piece. It was a bargain.
Were they of higher quality than Emgeton?
Yes of course. It was a good brand. You couldn’t buy VHS in smaller towns as Bystrice pod Hostynem. You had to visit bigger cities. I didn’t see a point in why I should go there when I knew that they would be double the price and out of stock. It was better for me that the friend brought them from Germany. He worked there.
It was around 100 CZK. The price didn’t get lower afterwards. The cheapest ones you could buy were BASF. It cost around 56 CZK. It never got lower.
That was on the verge of the end of VHS and when DVDs were already widely available.
What’s your opinion about today’s movies?
I think it’s a generational matter. Today’s movies are made for a different generation than me. The question is if the young generation goes to cinemas. Even the middle generation doesn’t often visit cinemas. Pensioners usually watch TV at home.
Movies production adjust to such a trend. I don’t want to be bitter and claim that everything is wrong. However today’s movies aren’t made for me. Even the topics aren’t for me. I think movies have been becoming sketchy. You would hardly find a classic story in movies nowadays. It’s just sketches. People prefer one-liners than a proper story.
I have a feeling that the quality is getting lower and I’m not the only one. It’s true that a lower number of movies were filmed in the past, but around 40 of them were filmed. It is comparable with today’s volume of production. There were around 4 to 5 movies which were somehow exceptional out of the 40. I can say that the situation is the same nowadays. You get the same number of quality movies. There are around three to four movie which are worth per year.
When we look at stories in detail, do you think that the stories were deeper and more thoughtful and are becoming shallower and superficial nowadays?
That’s true if we’re talking about the top-class movies. It’s related to the fact that people long for having fun. They don’t want to think. Serious movies are rarely screened. If they are, they are made for art cinemas. Even when they are filmed, cinemas don’t screen them. Nobody would come to watch them. If you don’t want to go anywhere, you can watch them on TV. If you want to go somewhere, summer film festivals are the best for them.
Which movies and documentaries would you recommend to somebody who like thoughtful movies and seek messages with a meaning?
It depends on if you mean new movies or the old ones. The choice is influenced by my age and how long I’ve been doing it (collecting movies). I have an amiable relationship towards our Czech cinematography because I like it. That doesn’t mean I can’t be critical towards a lot of movies. I wanted to share it at the beginning.
The best movies were produced in 60s. They are still recognized today. There are quite interesting and underrated from the second half of 50s. I would name: School for Fathers (1957), The Wolf Trap (1957), Three Wishes (1958), Desire (1958). Young people won’t probably know such movies. You can watch these movies on various websites or a Czech TV channel CS films screen them. The channel screen not only the good ones but also movies of lower quality. They don’t avoid anything.
If I should pick anything from 60s, they would be: When the Cat Comes (1963). Another good one and a popular one among audience is Lemonade Joe (1964). It is highly appreciated parody even nowadays.
There are a lot of good movies from the second half of 60s. People would expect the best ones to be filmed at the end of 60s, but it is not true. The situation started getting relaxed from the first half of 60s (The Prague Spring). The new wave dates back to 1964. The great example of such movies are almost all movies by Karel Kachyna. I consider the The Nun’s Night (1967) to be one of the best Czech movies.
A quite known movie is All My Good Countrymen (1969) by Vojtech Jasny. I have had an opportunity to know him the last 10 years of his life. Movies by Jan Kadar and Elmar Klos are also good. I love Accused (1964). A beautiful movie is Death Is Called Engelchen (1963). Another one is The Shop on Main Street (1965). I was captivated by the last named one and I consider it one of the best of all Czech movies.
I would like to ask you to move forward to the present day and 90s.
Two, three to four interesting movies were created during this time period. It is 40 movies in 20 years. It is classic comedies which weren’t mediocre. They are screened even nowadays. It is Joachim, Put Him into the Machine! (1974) – the beginnings of Smoljak and Sverak. Later it is Run, Waiter, Run! (1981) of course. These movies are above the average. They are movies directed by Jiri Menzel.
It is also movies by Vera Chytilova. They are: The Apple Game (1977) – absolutely exceptional movie. Another one is Panelstory or Birth of a Community (1980) – great movie.
As I’ve said. You can find 2 to 3 movies which were high above the average per year. If we compare it with contemporary cinematography, those mentioned movies were successful at the foreign film festivals in comparison with today’s movies which don’t even get nominated to major foreign film competitions.
You were a member (boss) of a movie club before 1989. What was the purpose of it? What type of viewers attended screening regularly? What was it like with screening western movies?
We didn’t hold any positions. We organized a movie club, I and my friend Jarda Rozehnal. I didn’t set it up. It was his idea. We met at the beginning. Later I was his dramaturge I would say. I picked movies to be screened. I introduced them for 13 years. I didn’t miss it once.
Introductions as…
Yes, before the screening. A short introduction what the given movie was about. It was mandatory so that the movies were allowed to be screened. It was called a lecturing introduction. I worked on it. I made a lot of notes at the beginning. It is not easy to talk in front of people. However it was very close to me due to my profession (cook, waiter, hotel director, an entrepreneur in hospitality). I was used to be among people and talk to them.
Later I found out that if one wants to talk about a topic and be persuasive, they should speak off-the-cuff. The maximum for a good speaker is to make a few notes in order not to forget what to say or to miss anything. Reading each word of a speech is not good. I tried to do away with it very early. Movies were offered in catalogues at that time. I think I showed them to you last time. They were published for film clubs once per year or two.
Do you mean a distribution catalogue?
Yes, a specific group of movies were only for movie clubs. There were offered in this movies-only-for-clubs distribution catalogue. A western movie was bought for 5 years and screened in cinemas. The movie was mildly accepted and not many viewers come to see it. However, such movies could be found interesting by the state dramaturgy and resonating with then ideology of the communistic regime. That’s the reason why such movies were offered to movie clubs. They were quite often interesting pieces. Of course the composition of the catalogue was for example: 30 Czech movies, 20 Soviet movies and 10 Western movies.
Did you have a feeling that the communistic regime tried to censor cinematography?
Yes of course, it was that way. They claimed financial reasons were behind it. I didn’t see through it much. However top-class movies were very expensive. Movies had to be bought in batches. In order to get a movie you wanted, you had to buy a batch of 30 for example. I have never worked in the distribution. Selection committees existed. The selection process had to conform to the ideology. If they released movies to be screened, they were 10 years old at least. They weren’t the newest ones. If they could buy newer ones which could attract viewers, they were screened in cinemas first. To make some profit.
You mentioned regular cinemas and movies clubs. What was the difference?
There was a slight difference. Movie clubs had to pick from special movie catalogues which weren’t available for standard cinemas. The movie clubs in bigger cities could pick from standard catalogues for cinemas. It was because there were too many viewers and they wouldn’t have anything to screen in a short time.
Were the movie clubs intended for demanding viewers?
They were for people who were deeply interested in movies. They usually read movies magazines and literature. They sought information about cinematography on their own.
You have organized festival Film Tesak multiple times. What was the first spark to begin with it?
The Film Tesak festival became a phenomenon which is still alive and carries on. At the beginning I attended many movie events. She wasn’t happy about it. When I wasn’t at work, I read books about movies or I wanted to attend a film event. Sometimes I could, sometimes I couldn’t (smile at our faces). One must have been reasonable to split the free time between hobbies and the family.
I set up a hospitality business, a recreational centre. At first I was there as an employee of TON company. It was their place.
So does it mean that renting the recreational centre gave you a change to organize the Film Tesak?
Yes, that’s right. However, I didn’t think about it at the beginning. I attended such events two to three times per year. They were called program seminars and we picked movies for the next season for the film clubs at them. Or they were summer film festivals or winter film festivals. Then there were also other special seminars. I had an agreement with my wife that I could attend one long and short one per year. I tried to keep my promise rigorously. Sometime I attended ever more of them, but I couldn’t get over her most of the time (laugh). When I started the business at Tesak (a mountain range resort), I found out I couldn’t attend the long ones because I was too busy.
You can’t leave your business. There was a ski season in the winter and it was the same in the summer. It caused I couldn’t get anywhere. I attended only one of them. It was called Rychnov Film Laugh. I have attended it 31×. Later I also participated as an organizer. It took place the first week in October. I paid close attention to be free. If there were guests at the recreational centre, my wife took over or my sister-in-law. I just knew how to arrange it.
So does it mean that limited amount of free time forced you to organize the Film Tesak?
I didn’t come up with it. I had a friend. He invited me to be a member of a Friends’ club of Jan Werich. I am not sure if he had to talk me round to join in. So he was the culprit in this matter. I told him I liked Jan Werich very much. I appreciated to become a member of the club. However, I told him I didn’t have much free time. I didn’t want to join in an organization just to be a formal member where I didn’t have time to take part in anything. I found it unfair towards the rests of the members. However, he kept persuading me until he got me. I attended a very first and very famous Werichiada in Prague in 1992 when all Werich’s colleagues were still alive. I met with Jara Kohout and many other artists as Miroslav Hornicek and Ljuba Hermanova.
It was amazing but later I couldn’t leave my work. The man who persuaded me to become the member of Jan Werich’s club was Jiri Tibitanzl. He had a theatre, a travelling one, for children in Havirov. He owned a theatre concession.
I told him: “It happened what I thought it would happen. I can’t go anywhere. I pay 150 CZK membership fee but I feel ashamed I can’t participate.”
Then I added: “Arrange a countrywide gathering at my centre. I will offer you good prices and we create a program.”
Then he said: “What if we organized a film festival?” I answered it would be nice but I didn’t understand how we would deal with copyright. He answered: “Don’t worry about it. I have an agency and we’re a non-profit. It means that if we organize a private event under the non-profit up to 50 people, we can use private movie collections.” And that’s how the Film Tesak came to existence.
Then it was held for 17 years and we didn’t even think that such famous people who attended would actually attend. We didn’t think it would be even possible.
What was the atmosphere like there? What do you remember the most?
The atmosphere was amazing. I can say we were all friends. It was attended by 60 to 80 people. We exceeded the limit a little bit. I can say it freely nowadays (laughing). In addition nobody was interested in the event for many years. We didn’t have any adverts. We didn’t have to, because the attendants knew each other. They were really beautiful and friendly gatherings. I could afford it financially because it was under me as an entrepreneur.
Were there any famous people?
Many famous people attended. The first guests weren’t so famous in the general public. The first guest was Jiri Novotny (1936–2018), a film historian. I knew him personally. Unfortunately he isn’t alive anymore. While visiting 62nd Zlín Film festival yesterday, I met with his family and his wife. He was a great man, educated. He saved a lot of stuff for Zlin film studio. The Zlin film studio survived because of his efforts. He may be known in relation to Hanzel and Zikmund, the travellers. His fasther was a cameraman of them.
Was he with them on their travels?
His father, Jaroslav Novotny (1903–1976). He helped me to get acquainted with Miroslav Zikmund (1919–2021). He was also a great man. I also had private records of Mr Zikmund at my events.
The second year was quite known among the professional film public. I invited a Prague collector Milan Wolf. We got acquainted in Rychnov. He visited us for a few years. Later he just visited as a regular guest. I didn’t create a special programme with him as when he had visited for the first time.
Jiri Krejcik (1918–2013) let me know before the 3rd year. He was a great person in the Czech cinematography. Jiri Tibitanzl met him in Uherske Hradiste at the summer film festival. He told him about what we did and he answered: “That sounds good. I would like to visit you.” Then he really came over. He was a director of such movies as Higher Principle (1960) or Divine Ema (1979). He was one of the most influential directors of all times. I knew him until he deceased. He lived 96 years. Our friendship carries on through his son who is a cameraman for Barrandov and TV.
I also would like to name Antonin Jaroslav Liehm (1924–2020), incomparable personality, a literary critic. He lived in France. He paid a visit to the Film Tesak a few times. Tesak was just a hole in the middle of nowhere (laugh). Nothing was here. Imagine that a world-famous and a world-class man comes over. The man who meant something worldwide and knew a lot of people.
I’ve read about him and was surprised that he’s left a lot of legacy abroad and I neither heard nor read about him.
He wasn’t in the media much because he was a member of leftist intellectuals. He publicized 60s Czech cinematography abroad. He knew lots of foreign languages and was indispensable for the regime. There weren’t many of such people. He brought Jean-Paul Sartrera (1905–1980) and other famous writers to the Czechoslovakia. Later he was an editor-in-chief of literary magazine Literární noviny. The magazine was famous until it was banned. He emigrated after 1970 when it was clear he wouldn’t stand a chance here. At first he was an intern abroad. Then he moved to London. Afterwards he spent a few years in the USA. He was an acquaintance of many personalities of world-class culture. It was unbelievable.
Did he hand over the legacy and knowledge from others to you?
I had a change to meet up with him quite regularly. He visited the Film Tesak around 5 times. I visited him in Paris three times. He invited me. He moved to Prague in 90s. Then we met up a few times per year. Discussions with him were great. I have a lot of private records.
You collaborated with Jan Culik on a book Jací jsme. The book analyses Czechoslovakian cinematography. What was the cooperation with him like? What were the most interesting opinions in the book? Why didn’t the cooperation between NFA (National Film Archive) and Mr Culik work out?
I can’t judge if it worked out or not. It was all based on personal relationships and it was related to political opinions of Mr Culik. I got acquainted with Culik via Liehm. He brought us together. Later Mr Culik called me when he was working on a book Jací jsme. He had been waiting for copies of some films around two years. The NFA promised to give them to him. He knew I had the movies in my personal collection. So he came over and watched the movies at my place. It helped him so that he could write about the movies.
That’s how we met. He wrote an article to Britské listy about me. It was a very positive article. Yeah, why he would write otherwise, I helped him (laugh). I can’t say we were friends. I respected him as an author at that time. I found Britské listy quite interesting. I like his movie reviews which he published. It was a different view on our cinematography.
Do you mean a different view than what was presented in the Czech Republic?
Yes, that’s right. The view of a man from aboard. The man who didn’t live here. Unfortunately our territory (market) is very small. Everybody knows everybody. I don’t want to claim it is still here in 100 %. Sometimes reviews and books seem to be paid propagation at our market. Sometimes there is personal grudge among people. It it easier and more popular to seek mistakes than help. I think a critic should be able to advise where they see a mistake. I think we miss it here.
Last time you told me you found some opinions interesting in the book Jací jsme. Can you tell us about them? What does it say about Czechs?
I found many of the opinions interesting. I think it is right to show our character in movies which are not the best ones. Mr Culik was right when he wrote that you can find out the most about our character in the movies from 60s: Behold Homolka (Ecce homo Homolka) or A blonde in Love (1965). The movies are full of consuming satire.
It is lower-quality movies by Zdenek Troska when we move forward in time. The great example is a very famous trilogy beginning with Slunce, seno, jahody. Especially the first two sequels. We may not like it. We can have objections. However, there is a lot of truth about us in the trilogy.
You cooperated with many interesting people from the film industry. How did you find them? Were they easy-going and cool or not?
They were absolutely easy-going and cool. Predominantly I met with people who I admired. I didn’t make up any expectations about people. They are the same people as the rest of us. However, I respected them from the professional point of view.
I contacted them and it worked well. They were people who I really wanted to talk to. People sense when you mean it in an honest way. I mean that your only target isn’t just take a photo, write something about them or get some juicy news. In conclusion that you truly want to have a chat with them about their work and what you like about it. Majority of them take it very well. I would say all of them. I have never met anybody who would be annoying and wouldn’t want to talk.
You have a great collection of movie posters. Which of them do you like the most?
It corresponds to which movies I like the most.
I appreciate the most the ones which are for the top-class movies. I am not an expert on fine arts. I assess them based on my own feelings more.
I like pieces which are not publicly appreciated so much. There were many good fine art artists during Normalization. They earned living.
Do you mean they earned living by painting?
Yes. There were quite a few famous and known names who couldn’t do anything else. The NFA or people tied to cinematography offered them a cooperation. That’s the reason why exquisite posters could be made. They are regarded even today. The example are: Josef Vyletal and Olga Vyletalova. The first mentioned one doesn’t live anymore. However, I know his wife very well. Moreover one of their most values poster is for a French movie A Gentle Creature (1969). The poster cost 500 Western Deustche Mark at the end of 80s.
Do you mean the poster?!
It was an unbelievable amount. It was 5 times more in the Czechoslovakian crown (laugh).
How did you usually acquire them?
I got many of them from friends of mine who work in cinemas. Another group of people are mostly descendants of former owners. Their parents worked in cinemas or cinematography or it was also their hobby. Then their children weren’t interested in it anymore. When these people heard there is a madman who collects them (laughing), they were happy to give them to me. They gave them to me absolutely selflessly and for free.
I noticed that you have posters which are in both Czech and German. Are they from the 2nd world war? How did you get them?
They are very old. I have posters as early as from 20s. The two-language ones existed from 30s before the war. There was a big German minority. Movies were often screened in the border areas. A lot of people could speak German as well. I am sure the German translation was mandatory during the war.
I bought part of them from the Prague collector Milan Wolf. I’ve already talked about him. That was the first time I had seen them. Sometimes my acquaintances who work for antiquarian bookshops let me know they have something interesting.
When I was collecting them it wasn’t in demand much. They were quite cheap. Today posters for top-class movies are very expensive. I can’t afford them anymore. Sometimes they cost tens of thousands Czech Crowns.
What did you like and didn’t like about this year Bystricke filmove jaro (Bystrice film spring) which you organized?
It was the fifth year for me. When I look back I think it was successful. That’s how I see it at least. I shouldn’t make judgements. Visitors who attended should.
I didn’t come across any negative feedback from visitors. The guests who attended are renowned celebrities. I have been cooperating with Pavel Taussig, a historian and a critic from the beginning. He’s also my lector. He is quite known. I’ve known him many years. I can say we’re friends. Jan Lukes, literary historian attended. He’s know from TV. He was in a TV show Třistatřicettři (1999) with Jan Smid. An Oscar-winning cameraman Jaromir Sofr was also a guest.
Which movies did he shoot?
He shot all movies by Jiri Menzel but two. The Oscar-winning one is Closely Observed Trains (1966). He also shot with Kachyna – Long Live the Republic! (1965) and a couple of movies by Vera Chytilova (1929–2014). I can say he worked on many movies which were successful abroad. He is a great celebrity. Unfortunately these people are less known. They are not as famous as actors. Sometimes even movie directors aren’t so famous.
You are right. I had to look up the names.
The main guest was Jiri Labus and then Jan Kacer. Jan Kacer has been a guest three times. He is really known person of our culture. So I think that really renowned people attended. It was the same previous years.
Bystrice pod Hostynem is interested in the event.
And what about your point of view as the organizer?
Everything was all right from my point of view. I could find some small details which I didn’t like. I’ve returned from the Zlin film festival today. I experienced various delays and technical problems there. It is a part of organizing such an event. However I don’t want to compare the Zlin film festival with our one. It is incomparable.
What I didn’t like is turnout. The problem is a long-term issue. The total number of attendants in two days were around 100. It’s quite good. The second thing is that 40-45 of them attended the Film Tesak. So the number of visitors from Bystrice has lowered once (laughing).
I think it’s a pity. Such famous people came over and people didn’t come. It’s not about me. The guests told me it is normal nowadays.
Do they have the same experience from elsewhere?
Yes, they do. I know a lot of people who organize cinematography events and if it’s not totally commercial event, such attendance is normal. It was the same in Rychnov and Dobruska. I helped them to organize. I am also their regular guest.
What upcoming events can you offer to us?
After leaving Tesak, the Film Tesak has split. The first interested party, regarding organizing was town Bystrice pod Hostynem and the second interested party was the president of the Zlin film festival, Mr Vancura. Four years of the Film Tesak took place in Vizovice in a similar holiday resort under the auspices of him.
At the moment I am discussing moving it to Zlin where it would be organized in the Zlin film atelier in Kudlov in a cinematography museum. It’s just a plan so I haven’t started inviting guests.
What do you think is the most important in life?
I won’t say anything special. Two things: health and luck.
Thank you for the interview. I have got to know interesting things and information. I hope readers will think the same. Thank you for your time.
I also thank you that you noticed me.
