You really see life around the principals to be as important as the main, principal actors. That's what cinéma vérité taught me - that it's not a question of having a main character, a great actor, and the rest is unimportant. Every detail, every face in the crowd is important.
I lived long enough in a society where freedom of speech was nonexistent, and I know what kind of misery that creates - starting with the fact that life becomes very boring for people who just try to survive, and are quiet, and try not to buck the system. And, of course, it can be devastating for people who try to speak against it.
People who make documentaries have to be faithful to the facts. But when you are making a drama, a fiction based on the life, all you have to be faithful to is the spirit of the facts, which I think I was in every case. As long as you don't violate their spirit, you can play with the facts.
The Czech movies, the quality movies, are trying to show the life in the country as it is, in an entertaining way, while in America, the majority of movies are wonderful fairy tales.
Ideological pressure is much more crippling than commercial pressure. Crippling to your own freedom of thinking and creating, crippling the final results. If you wanted to succeed during the really hard-line totalitarian regime, you have to make so many compromises to please the censors that you don't recognize the original idea from the final result.
For me, speaking is work. It's not like when you breathe.
Definitely it would be foolish to try and make my Czech films here in America, as foolish as it is when some Czech filmmakers try to make movies of America in Czechoslovakia. It was always abysmal stuff.
Communists love to make films about composers, because composers compose music and don't talk subversive things.
When you finish a film, before the first paying audience sees it, you don't have any idea. You don't know if you made a success or a flop, when it comes to the box office.
Usually you don't think about re-releasing an old movie.
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