Trying to remember if the beginning of my career I felt such a battle. No way! I was consecrated to the directors, some even older, a respect that sprang from the works they have left our cinema. Without envy. I thought no one moment that I could compete with them and not something I wanted, because we, the youngest, is another generation, with other conditions and purposes more courageous. With the exception of 5-6 directors over 60 years, the other part in age from the same generation. I was a special case, having the film institute and university colleagues did not have, good or bad, but that I would have rubbed elbows in the same bank, others came from the Soviet Union - Moscow, Leningrad (St Petersburg). I was aware that we could not compete, nor do we want this, is there enough for everyone. This feeling gave us peace and safety.
Of all the second generation only Francisc Munteanu, said the writer, and he chose his career as a director. Several talented operators did the same later. We've all been employed until 1970, when directors and scenic artists were placed on contract, giving us instead the regime to reward intellectual property rights, which are so well known worldwide, and to us at all.
Looking at the situation that I made her generation and we chose the most important directors, we find that generation 1950 - 1959 is the one who forged Romanian cinema (there, it is true, since about 40 years) and included major names such as Victor and more young Iliu Manole Marcus, Andrei Blaier, Michael James, Mircea Dragan, Julian and Ion Popescu-Gopo Mihu obviously a generation with remarkable success, followed by generation the years 1960 - 1969 and 1970 - 1979 - which surpasses the first and get the most spectacular results: number of spectators, sales and international awards.
I remember with pleasure the time when Victor Iliu, Jean Michael Jean Georgescu and we address the "master", no more games, only the sincere admiration and respect. I have special memories about Julian Mihu a whimsical fellow, but a true friend, Mircea Dragan who, relaxed and dignified, I praised the film premiere after "Dacia" never not become jealous of me, George Vitanidis also correct, as if sensing early in my career that I will achieve success.
Colleagues such as Andrew Blaier, Mircea Muresan, Dan Pita, Mircea Veroiu, Geo Saizescu, Elisabeta Bostan, Mircea Daneliuc and Lucian Pintilie, followed by C-tin Văeni John Cărmăzan, Serban Marinescu, Nicolae Corjos ... to mention only a few names I shared sorrows and joys together in a more difficult period for our profession.
I always respected colleagues, understanding that we have a competitive film to continue the tradition inherited from Victor Iliu, Jean Georgescu, Jean Michael, Ion Popescu-Gopo ... but also from other directors who, unfortunately, today's longer among us: Julian Mihu, Mircea Veroiu, Francis Munteanu, Alexandru Tatos, George Vitanidis, Manole Marcus, Virgil Calotescu, Doru Nastase ... God will rest in peace!
They were my colleagues then, and so we treat each other. We were not friends of Sprite, but colleagues were true, although many do not know well. I was well received among them and without exception I remember fondly bring each of them.
I was a generation quiet and not disturb you that nothing, that there is total harmony, and no one was consumed by envy, jealousy or anything like that and that all lived in Heaven, in a society of angels. Absolutely not. Ambitions there were some difficult character and other bad character, as always and everywhere. Some of us had the same thought as some of today's navel is believed that the earth had a movie or two a little stuck. They were then "models" - and today - but no one claimed that Romanian cinema started with them. I would not understand that they are mischievous, but I guarantee that you will look different a few years' attempts of expression "of some of the new generation, which by their simplicity prove lack of professionalism, but it can not lack of talent. However, their merit is that they know when to make allies critics or others of the same generation older, finicky and shattered memory. I forgive those young people.
A generation is made up of directors with very different inclinations. May say, there's room for everyone, only to have professional grace mouse and something to say. Whatever we do, nobody can honestly say "I do not want the Romanian public success, but critically." Those who have never had a real public success can invent cinema for the press. It would be a mistake to follow the success of the public just because it takes you on wings of vulgarity or kitsch. Public do not have to concessions, but should give food for thought. You do not have to understand everything, but to feel and to please. I will never say that a successful public film is good, but not vice versa. When I was little, I saw many films (before the war). I felt the movie American domination, but not always. There were a Eisenstein, in addition to a Cecil B. DeMill an Orson Welles and Christian Jacques. At that time I did not know how to appreciate movies, but some actually impressed me and I have not forgotten all his life. When I went to the cinema, I sat next to someone who agreed to read my subtitle dialogues.
I want to smile when I think that was my answer when someone asks me what movie I saw: "I thought about it three to four days ... is a good movie !..." I was about 5-6 years