Miracles happen every day, says actor Jan Budar. After some 20 films in Czech Republic, he does his first international role playing against Carmen Machi in Javier Rebollo’s awardwinning Woman without piano. How he got the part? It’s all about believing.
– It was a miracle, really. Two years ago I was in Madrid for a screening of Jan Sverák’s Empties, which I’m in. After the film I asked the audience if anyone was a friend of Almodóvar, because I knew he lived in Madrid and the room was full of filmmakers. Three persons raised their hands, so I met them in the lobby afterwards and gave them my showreel, which they promised to give to Almodovar. One of them was the wife of a friend of Javier Rebollo, and he was searching for someone from eastern europe for this film. This woman gave him the dvd, while he was having dinner with his wife in a restaurant. He asked the waitor if he had a computer so that he could watch it, and he did. So he went to the kitchen, watched it, and said to his wife ”This is my actor”. And that’s why I’m here in Adana right now. Miracles happen every day. And it doesn’t matter if we believe in them or not, they still happen.
Is it difficult to get parts outside of Czech Republic?
Yes. I’ve been trying to get international parts intensively for a year now, and I’m slowly getting there. Not everyone can do it, because they don’t believe in it. You can see a lot of closed doors, as many of them as you want. And a lot of ”no’s”. You can see ”no’s” and closed doors in every aspect of life.
You said Woman without piano is a film to either love or hate. How do you feel about it?
– I call it a time bomb. For me it’s a story about a woman that has lived her life a long time without hearing herself, not listening to her emotions, her dreams, they are all hidden inside. One day she says to herself ”I have to do something with my life”, so she packs a suitcase while her husband is sleeping, and leaves. She doesn’t know why, she just knows that she has to do it. And this hidden world inside of her, it’s the film. It’s a slow film, and it seems nothing is happening, when in fact everything is happening. All of her emotions and feelings are there, if the observer is patient enough to see them. For me it’s bursting out with the music. It seems unconnected to the film, but it is what she has been waiting for, what she’s dreaming of, what’s inside of her, so it’s the timebomb for her.
What did you learn, working with this film?
– One night we were shooting, I was sitting on a suitcase in the middle of the street in Madrid, watching all of those brilliant people creating this film. And one moment I stepped out of myself, and I saw myself in my dream, doing my first international role, and all of a sudden I just realized I’m living in my dream.
Can you stay there, in the dream, or will you need bigger and bigger parts to remain in that feeling?
– That’s a difficult question. Coming to Turkey was relaxing, because I am not famous here. So I don’t have to control myself, I am not being observed, and all of this was a surprise to me, since I’m so used to that at home. It’s very weird to be famous, because everybody is watching you. If you are not calm enough, your mind will be stuck on this. Maybe it’s because we all want to be loved, and in fame there is some kind of love, right? Right now I’m asking myself what I really want. Because in this profession, the more famous you get, the more choises you have to pick up interesting parts.
Do you think you could handle being famous worldwide?
– That’s what I’m wondering too. Yes, I believe that if you are truly yourself, you can handle any situation you’re in. But I have the feeling that fame takes you away from yourself. Some people seem to be handling it fine though. Like Dalai Lama.
You seem to be calm like him
– I am now. But it’s really easy to create your own hell inside of your head, if you want to. It’s all about your thoughts.
by Moa Geistrand