 |
 |
|
|
NAME:
Robert Max Kuhar
TITLE / ROLE:
Co-Producer, Story Consultant, “Lana’s Rain”
COMPANY:
MDS
PRODUCTION CREDITS:
"Lana’s Rain"
LIVES:
Chicago
NUMBER OF YEARS IN FILM:
26
|
|
 |
|
|
(Continued from Page One)
You left Croatia in 1994 during the midst of the Croatian War. How were you able to leave and what did you do when you arrived in the States?
Actually, by that time Croatia was able to build up and mobilize a significant military force to stop the Serbian advance. Also, the International Community was taking steps to resolve the conflict peacefully. I was also fortunate that the part of Croatia where I am from was not in immediate danger, and we didn't have traveling restrictions. It was obvious to me that with a third of the country under occupation and a devastated economy, I had to find other ways to do what I always wanted to; make movies.
So I packed my bags and landed in New York with two hundred dollars in my pocket. I wanted to go to Los Angeles, but had just enough for a train ticket to Chicago. I was planning to make some money here and then to continue to LA but the higher force decided I had to stay in Chicago.
Since my English was practically non-existent, I would spend every night at the bar hanging out with the regulars, trying to learn as much as possible. Every time I wanted to join the conversation I would be cracking up at weird stuff, but for some reason people liked me. That was where I met Wolfgang, a friend of Michael Ojeda's dad, and he was the one that hooked us up.
A month later I found a job in construction, and few months after that, when I got confident with my English, I started videotaping weddings. I must say I was very surprised with the people I was working with. Everybody was friendly and very helpful. I wouldn't make it without their help. THANK YOU ALL! I owe you a big one! Later on I was able to start a small production company of my own. It’s not big, but it’s a start. I’m patiently inching my way forward.
How did you get involved in filmmaking?
It all started as a hobby. We had a summer school in my home town, and they were making cartoons. My brother was a member, and when I saw what they were doing, I decided to give it a try. I was thirteen at the time. The funny thing is that my first cartoon won Grand Prix at the Amateur Film Festival in 1979. After that, my love for movies had snowballed and I ended up attending The Educational Center For Arts and Culture in Zagreb, capital of Croatia. I also worked for Croatian National Television for ten years. That was a very valuable experience.
How does your filmmaking experience in the States differ from working in Croatia?
You have to understand that differences between European and American film making are in the essence. In Europe, film is an art form. It is not required to make money. As a general rule, each country has annual budget for film production. In the case of Croatia, that budget may be sufficient for five, maybe ten movies annually. There are some independently produced movies as well, but on the rare occasion. The problem is the market size. The Croatian population is around four and a half million, which is insignificant in any commercial terms. So the only way out for the film makers is either to apply for the funds, or to push the project through the National Television, which is also on the budget.
In the US, as we all know, that's not the case. We have here an enormous market and sufficient production capital. The film making here is an industry, and that makes all the difference. Personally, I think that's the main reason of American cinematography holding a leading position in the world. No other economy can sustain the level of investment that is the established standard in the US.
...
Edited by Richard Sharp
[1] [2]
003: Robert Max Kuhar
|
