1.     You co-directed It’s Not Cold for Mosquitoes with Josip Lukić. How did that collaboration come about?

After seeing Lukić’s Nine Months, which is one of my favourite short films, I decided to contact him about editing his graduation film. Then his main actor came down with Covid the day before they were about to start filming, so Josip decided to jump in in his place. I was supposed to be the script supervisor, but it so happened that I got to co-direct the film and I’d like to thank Josip for trusting me with the task.

2.     What was your creative process? How did the dialogues come about, how did you create the scenes and chose the characters that would converse with the main character?  

Sometime during the second day of filming, we decided not to use the existing script and instead opted for guided acting improv, so the filming ended up being a blend of documentary and fiction. Since I study editing, I approached the directing from an editor’s point of view, trying to come closer to Josip’s style. We share similar tastes so this came naturally to me and we got along famously on set.

3.     What makes this first (co)directing experience different from the other projects you worked on?   

There is a lot less talking in the editing process; you try something out, and it either works or it doesn’t. Sometimes you don’t even have to know what you’re doing. You don’t have that luxury on set because you’re building something from scratch and there is a crew who needs to know what’s going on. You’re explaining something and the people listen to you, look at you and try to understand what you’re saying. That was the worst part.

4.     What were the circumstances like while you were filming? What was the most challenging for you?  

When you’re shooting a film indoors and on a single location, people tend to get a bit claustrophobic, so there a touch of collective madness by the end of the day, and that is something you need to learn to deal with. apart from that, my biggest challenge was being someone who knows what they’re doing, especially in front of the actors who make me feel apprehensive. But since I come from a family of actors, working with actors is something I do on a daily basis, so I think I did all right in the end.  

5.     Do you have any direct role models you draw inspiration from? Do you have a favourite cinematic style and is there something you’d like to explore in the future?

As an editor, my job is to research other people’s styles and adapt to them. I think the most difficult thing is to adapt to yourself, and that is why I admire anyone who succeeds in making their own film. My favourite foreign author is Mike Leigh. On the home front, I would definitely single out Luka Galešić and Sunčica Ana Veldić.

6.      How do you see short film? What does short film mean for you and how do you see its role in contemporary filmmaking?

Short film is a loyal companion to all of us film students and for me there is currently no other form. Its length implies certain limitations that are hard to overcome, so I value originality in the short form more than in a feature format. I think everybody is aware how undervalued shorts are and that they always play second fiddle to feature film, mostly functioning as a sort of teaser for the real thing.

7.     What is your favourite short film and why?

One of my favourite shorts is Sunčica Ana Veldić’s Drama Is Overrated. Apart from Godfather 2, I’ve watched it more times than I can remember and I think Sunčica managed to adapt to herself very well in it. 

8.       Your first directing credit was codirecting It’s Not Cold for Mosquitoes with Josip Lukić, which won the Heart of Sarajevo for Best Student Film, followed by the Golden Pram in the Checkers programme at Zagreb Film Festival.   

Did you expect the film would be so successful? What was the feedback about the film? What does this success mean for you personally and what does it mean for your directing and editing career?

I think we all hope for success, but expect the worst. The feedback has been amazing and it is nice to be recognized by your colleagues in the profession. Personally, I am ready for this to be my first and last success in film. Retirement is still a long way away!