
Contents
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The Discovery of Cinema The Discovery of Cinema
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Prague Prague
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Sidran and the Adolescence of a Nation Sidran and the Adolescence of a Nation
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Filming Gypsies’ Bodies and Colors Filming Gypsies’ Bodies and Colors
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Cinema and Nation Cinema and Nation
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Black Cats, White Cats Black Cats, White Cats
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Maradona Maradona
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Music Music
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Interviews with Emir Kusturica: A Montage
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Published:December 2014
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Extract
What follows is a series of excerpts, organized by theme, from selected published interviews with Emir Kusturica. Unless otherwise noted, all translations are my own.
The Discovery of Cinema
On weekends [while growing up] I used to work to make some money. The job consisted in bringing coal to heat up the cinematheque. Often, when the job was done, the director would allow us in for free. One of the first films I saw was Visconti’s Senso. I did not understand a thing about it, but I realized that something important and unusual was happening onscreen. Some time later, another film shocked me: Fellini’s La strada. With that film I entered the magic world of cinema. […] Those films were very close to my most intimate emotions: a strong, Mediterranean pulse. […] That kind of new realism had everything a film needs: emotions and the power to make you travel inside a narrative. Then, of course, I started making amateurish films. I came to cinema through coal, isn’t that amazing?
—FromSerge Kagansky, “Arizona Dream: Intervista e Emir Kusturica,” Il Mucchio Selvaggio 17.181 (February 1993): 56.
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