RESPEKT The authors of plays do not usually bring their own instruments on stage. Let alone the movies. What this very personal she captivated you? Vaclav Havel A play is a product made by everyone treats her desires and abilities. The director has a total liability. And I, as a writer, I can only watch from afar the result, sometimes with great satisfaction, sometimes jaw clenched.
When the idea to shoot this movie after my last play appeared for the first time, she never left me. And I finally convinced me to carry this interpretation myself and try to achieve. How did you feel about this new role? It was a particular adventure, informative but also fun. It was well worth it, although I have no intention of repeating the experience.
You've seen many adaptations of your parts. Have you happened to find in the interpretation of a director's something you had not seen in your own text? Repeatedly. The theater is a living art that is meaningful to a point in a social environment and a particular context. For example, during a performance of my play The Report, which I attended, the Philippines, the audience burst out laughing at times for me totally unjustified.
It was only later that I learned that the indigenous languages of the viewers were under the onslaught of English, and had mastered the language invented in my room, ptydepe, this dominant language imposed on them. This kind of thing is a pleasure to the author. Conversely, you happened to not recognize your own room? Yes, I sometimes faced a lack of understanding of my text, which has resulted in cuts senseless.
My pieces have a specific architecture and any outside intervention can make them incomprehensible, and critics will judge that the part is bad. When I started, the handling of my texts me angry, but I eventually get used to it. When the reviews are negative, it matters to you does so? No writer in the world can rejoice when his work is condemned.
My film friends advised me not to read reviews, whatever. They all tell me not to read them, but soon one after another, they cite them all ... Me, in this case, I'll read with great interest. [This interview was conducted just before the film, which received an enthusiastic reception from the public, but much warmer in the Czech press.] How did you get the idea to film your part On departure? Shortly after the play was staged at the Archa Theatre, the director Jaroslav Brabec contacted me and proposed this idea.
We started working on the script, but the more we progressed, I realized that his writing was too different from mine and that I believe it was unsuitable for the part. So we decided - calmly and friendship - stop everything. Later, I speak again with director Jan Nemec. We planned to tour together.
But we both realized that we will compete in two days. So finally, out came my first and last filmmaking. Forty years ago, you had already written a screenplay with Jan Nemec. Yes, this would be a great international coproduction with foreign players, but the project was eventually abandoned.
We wrote this script together in his country home near Prague, in fifteen days. That was in 1969, the Husak regime [so-called period of normalization after the Soviet occupation] was being established. The film could not be made in Czechoslovakia. Yet the idea to shoot this film in January and never left, in exile in the United States, he tried again.
Is it true that you work on a new play? Is still in a very embryonic state and it would be futile to talk about a subject that will probably change again a hundred times. I can not reveal the title, he, will not change: The Sanatorium. Your world famous Will it affect the career of your movie? I'm a special case.
There are probably few people in the world who have been the last president of a country, then the first president of a new country and finally to 74 years, become filmmakers. This can cause an intense curiosity. This can increase or diminish the interest that the public will have for the film, but it can also cause some rather dislike and inspire distrust.
All this can happen and I am ready to face it. 
When the idea to shoot this movie after my last play appeared for the first time, she never left me. And I finally convinced me to carry this interpretation myself and try to achieve. How did you feel about this new role? It was a particular adventure, informative but also fun. It was well worth it, although I have no intention of repeating the experience.
You've seen many adaptations of your parts. Have you happened to find in the interpretation of a director's something you had not seen in your own text? Repeatedly. The theater is a living art that is meaningful to a point in a social environment and a particular context. For example, during a performance of my play The Report, which I attended, the Philippines, the audience burst out laughing at times for me totally unjustified.
It was only later that I learned that the indigenous languages of the viewers were under the onslaught of English, and had mastered the language invented in my room, ptydepe, this dominant language imposed on them. This kind of thing is a pleasure to the author. Conversely, you happened to not recognize your own room? Yes, I sometimes faced a lack of understanding of my text, which has resulted in cuts senseless.
My pieces have a specific architecture and any outside intervention can make them incomprehensible, and critics will judge that the part is bad. When I started, the handling of my texts me angry, but I eventually get used to it. When the reviews are negative, it matters to you does so? No writer in the world can rejoice when his work is condemned.
My film friends advised me not to read reviews, whatever. They all tell me not to read them, but soon one after another, they cite them all ... Me, in this case, I'll read with great interest. [This interview was conducted just before the film, which received an enthusiastic reception from the public, but much warmer in the Czech press.] How did you get the idea to film your part On departure? Shortly after the play was staged at the Archa Theatre, the director Jaroslav Brabec contacted me and proposed this idea.
We started working on the script, but the more we progressed, I realized that his writing was too different from mine and that I believe it was unsuitable for the part. So we decided - calmly and friendship - stop everything. Later, I speak again with director Jan Nemec. We planned to tour together.
But we both realized that we will compete in two days. So finally, out came my first and last filmmaking. Forty years ago, you had already written a screenplay with Jan Nemec. Yes, this would be a great international coproduction with foreign players, but the project was eventually abandoned.
We wrote this script together in his country home near Prague, in fifteen days. That was in 1969, the Husak regime [so-called period of normalization after the Soviet occupation] was being established. The film could not be made in Czechoslovakia. Yet the idea to shoot this film in January and never left, in exile in the United States, he tried again.
Is it true that you work on a new play? Is still in a very embryonic state and it would be futile to talk about a subject that will probably change again a hundred times. I can not reveal the title, he, will not change: The Sanatorium. Your world famous Will it affect the career of your movie? I'm a special case.
There are probably few people in the world who have been the last president of a country, then the first president of a new country and finally to 74 years, become filmmakers. This can cause an intense curiosity. This can increase or diminish the interest that the public will have for the film, but it can also cause some rather dislike and inspire distrust.
All this can happen and I am ready to face it.
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