 "My problem", as the late Danilo Bata Stojković tells his party colleague in Goran Paskaljević's film The Elusive Summer, "has been tied up", he says boastfully regarding how he managed to deter the future misconduct of his son Petar. But, when he catches his son in flagrante delicto – rolling around on a bed with the daughters of his honoured guest – he utters a sentence that carries a different meaning, one that is well known to everyone.
Talking to Goran Paskaljević, one of the most fertile and esteemed Serbian film directors, we tried to uncover the thin line of prejudice that is inevitably created when things tie us down with fetters so strong that they usually overwhelm us, as they are too difficult to cope with alone. The punishments and rewards that follow as a result of frequently 'lost illusions' invariably become our only reality.
What do you think of awards and what does the Lifetime Achievement Award spell in your book?
– Over these 40 some years in film, I have made 30 documentaries and short films and 15 feature-length films, a record of sorts in Serbian cinematography. Nearly all of my feature films have been screened at large international festivals such as Cannes, Berlin, Venice, Toronto, San Sebastian... I have received many awards and that has had a pleasing effect on my ego. However, awards primarily mean creating opportunities to continue in this line of work, which means the world to me. Five years ago, in Italy, I received the Fellini 8 ˝ Lifetime Achievement Award and contribution to world cinematography. At the time I dreaded that my career had come to an end. This fear was of the creative kind and I overcame it by making two more films since then, to reach this latest – Golden Alexander – Lifetime Achievement Award in Thessaloniki. I hope to continue in this vein, my physical and mental powers permitting.
 What propelled you to embark on this latest film – Honeymoons?
– Three years ago, I was in Albania for the first time. At a film festival there, they showed three of my films that comprise a sort of Serbian trilogy, namely The Powder Keg, Midwinter Night's Dream and The Optimists. I began that journey with certain prejudices about Albania, a normal view for a Serb. In Tirana, my prejudices concerning the intolerance that exists between the two nations, stemming from long-term misguided policy, were undermined. The audience received me with enthusiasm, and I met intellectuals who held similar views to my own – beyond all nationalistic ideas. I came to understand that we have many similarities, given that the Ottoman Empire left its indelible mark over five-centuries of heavy-handed rule in the region. Along the way, over a glass of brandy, an idea was hatched to make a joint film – the first Serbian-Albanian co-production that we immediately came to call Honeymoon.
To what extent does the sociological-ideological-political context colouring the current situation have an impact on your work as director?
– Unfortunately, there is too much politics in our lives, especially over the past 20 years. That is one reason politics is also present in my films. But I do not make political films, nor do I try primarily to express my political beliefs through film. Simply put, there is as much politics in my films as the characters in them are able to carry to the screen from everyday life.
 It appears that you, or better to say all of us in Serbia, are continually haunted by 'elusive summers'?
– Indeed. But we cannot say that things happen to us totally uninvited. We are quite to blame for this frequent hard luck. In my view, we often do not understand what would benefit us and we lose energy in mutual friction.
The film Honeymoons has a characteristic scene, in this respect, of two brothers who have had a falling out over politics and cannot come to terms with each other.
With respect to actors, how does work on films today differ from work involving actors such as Danilo Bata Stojković?
– I am one of those directors who pay particular attention to actors. I believe that they are the main ingredient in films because emotion is transferred to the audience through them. I was fortunate enough to have Bata Stojković play the title role in my first film, Beach Guard in Winter, made according to Gordan Mihić's excellent script. The two of us shot six films together and I learned a lot from him. But my approach to actors has not changed essentially since then. I remain open to their suggestions and when they are really good and creative, we immediately make changes in scenes to imbue them with that bit of extra reality. After all, I publicly dedicated my Golden Alexander Lifetime Achievement Award to the actors I have worked with thus far, and they number in the several hundred. Many young actors made their debut in my films, including Gordana Kosanović, Irfan Mensur, Svetlana Bojković, Sergej Trifunović and Jelena Trkulja...
To what measure has Serbian film changed since filming Beach Guard in Winter and where does it stand compared to the leading world and European film industries?
– When I was making my first film, the most important thing was to obtain the go-ahead from (state) producers and assistance from the Ministry of Culture. The budget was covered almost in its entirety. These were not substantial funds, but shooting a film began with a degree of certainty that it would be completed. Today, many young film directors begin their first film without knowing whether they will have enough money to complete it. This is a very stressful situation and can adversely affect the film they are trying to make. Still, Serbian film has of late begun to rise from the ashes and is increasingly represented at international film festivals. Given greater financial assistance, we could take a significant step forward in this respect. Hopefully, the Law on Film, which is currently being drafted, will enable more stable funding without the equal share system in which everyone gets an equal but small share, and instead will afford greater incentives to first-timers and to those whose qualities are proven.
In your opinion, how much has our society and the audience's taste changed in recent decades?
– Everything is subject to change, including taste in film. However, films are not made to please viewers' momentary tastes, which have been rather impaired by commercial trash, especially TV. I think audiences can be brought back to the movie houses through domestic films, but not through films that indulge viewers' poor taste. It is first necessary to put an end to unprecedented piracy, and then by various incentives, to help distribute domestic films, as is being done in France.
Where do you see the future of Serbian film and culture in general?
– I cannot foresee what will happen in the near future, but I am afraid that the government is currently defending itself from culture and not defending culture.
Have you plans for a new work?
–I always have several projects that are on my mind. But, at this time I have no clear vision about my next film.
Aside from film, which other topic would you choose as the subject of this discussion and why?
– Environmental and animal protection. This is something I have been into quite enthusiastically for some time, together with my wife Christine.
You travel often. Do you use Jat's services?
– Recently I made a rough calculation that I have travelled some one million kilometres during the 40 years during which I have been flying with Jat. | 
