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The Krobotos Quartet has its premiere in cinemas today

The Krobotos Quartet has its premiere in cinemas today Have you ever played in a band? It is like a second family, with whose members you wish for happiness and you are experiencing unexpected adventures. Just like a used family again and again at one table, members of the quartet of so-called contemporary music always meet at another concert.

Somewhat heterogeneous four, headed by a solid-looking, but slightly bishop Robert (Lukáš Melník), his partner attractive and scattered cellist Simon (Barbora Poláková), extrovert joker Tomáš (Jaroslav Plesl) and historian with the nickname Funés (Zdeněk Julina) the path for his most free song, a series of humorous situations, but also misunderstandings. He also spends time in the legendary Ponorka pub in the historic center of his hometown, where also the "Batrflaj" (Pavlína Štorková) and the "court" psychotherapist of the Sylva Quartet (Lenka Krobotova) are also going. Among the main heroes there are constant hitchhikes and slightly bizarre situations, until finally one unplanned party brings a certain catharsis and joy and a delightful feeling of happiness.

Miroslav Krobot's second feature film will enter cinemas three years after his debut film debut Holešovice , which saw more than 150,000 viewers in cinemas, and which was awarded three Czech lions in actor's categories.
Krobot Barbora Poláková, Jaroslav Plesl, Lukáš Melník and Zdeněk Julina took part in the main roles of the comedy about four musicians, thirties who try to find happiness in life. The film, which was filmed in the historical center of Olomouc, is played by Lenka Krobotova, Pavlína Štorková, Jiří Schmitzer or Jana Štěpánková .


Interview with Miroslav Krobot

Your film debut saw 153,000 viewers in cinemas; you originally expected 10,000. Was this great audience success the reason that you went to another film project or were you thinking of another movie before?
About half a year after putting Harašice into the cinemas, Luboš Smékal told us that we would be entertained to write a screenplay for a movie that was different from Holešovice's hole. I do not know if it was the reaction to the positive or the negative reaction to the Hole. We did not know what we were writing at all, but it was a commitment we took seriously. It's like promising to make a piece of furniture, and you have no idea if it's a cupboard or a chair, not at all how it looks.

The other films are said to be heavier than debuts for directors, but they often show what they are in the director. How did you approach your second film?
Probably not in me as a director, because the Quartet was easier for me than Hiroshima Hole. In addition to the small technical difficulty of the film, I was more ready and more experienced, the screenplay did not change, the film was directed from the directorial point of view, as I imagined. I'm not saying there are no mistakes in it which always return to the surface.

Again, you collaborated on a script with a friend and a psychologist Luboš Smékal. Does this mean that you are working better in two, and you prefer authoring projects? Or what did you do to it?

With Luboš, we are directly connected to our literary attempts at the grammar school. We can laugh at it. In addition, we are poisoning ourselves only as strictly necessary. We work economically to keep you from having fun. Usually, we start something and it will go under our hands elsewhere, so we have to break the process of making. But this is the next time. We should do something about it because it is not a very productive way of working. On the other hand, we enjoy ourselves like this. We are just starting a theater project in an unconventional space in Olomouc, where, among other things, our author's articles would be mentioned.

Are you able to compare your two film productions and have such a comparison at all?

I can not see a reason for comparing the two films. After the village community story, we chose an intimate and personalized story from the city. The disparity of the two films was a part of the assignment we gave.


Did you write a screenplay with the idea of ​​a particular viewer?
Based on our date of birth, we could expect to deal with balance sheet themes. In the end, it was that we wrote a scenario about the relationships of the thirties. The Quartet is a film about how we sixties see relations and relationship dreams of thirties. It is quite possible that we are going to be laughing, but perhaps our interest will be of interest to somebody. Our exuberance is an excuse for trying to record the spirit of the time we live, which is the same for thirty-six and sixty. So the Quartet could be for all audience addresses.

How can you briefly summarize the story of the Quartet?

The Quartet of Contemporary Music has a few weeks into the premiere concert. For members who are friends, it is also a period of decision-making about one's own fate. The concert is coming and the relationships between them are dramatized. This is also what their parents and their ideas make about how their offspring should be preserved. There are conflicts, misunderstandings and disappointments. The hope that characters will achieve what they desire is weakened by their own indecision and intrinsic uncertainty. The premiere concert will eventually take place.


Did you write a scenario with the idea of ​​a particular actor? Why, for example, did the election to Bára Poláková fall into the lead role? Did you also get to other actors than the Dejvická theater, what did you do to it?
Relatively thorough casting took place during the writing of the script, and his latest version came out with the knowledge of who would play the lead role. However, the resulting form of the script did not affect it. Casting did not only mean the individual's assumptions, but also the proper chemistry of the quartet as a whole. Its members had to stand out of the artistic environment of the regional city and at the same time did not overthrow it. It was to connect musicality ... hence the choice of Bára Poláková ... and a sense of humor.

For the second time did Jaroslav Plesl take one of the larger film roles in your picture? Does it have any particular reason?
The character of Tomas was the only one we did not cast because we and Luboš opted for Jaroslav Plesl. Maybe it's the last time Jaroslav could play a similar character for age, and it was a shame not to use it. I think Tomas is very nice and young and at the same time he is a sophisticated and mature performance.

How much do you play in your new film in the Olomouc environment where the film was filmed?
Olomouc is beautiful and I have a personal relationship with her, which was not a reason to make a movie there. We needed to find a busy, conservative and aesthetized environment where he lives well and there is almost no danger. It was to be a city whose history is binding and maybe even a bit limited, a city with cultural background including theater, philharmonic and several cinemas. Olomouc fulfilled it very well. The town, the region, but even the Palacký University, made us all the best to be able to make the most of this, which I would like to thank for this.

And what role does music play in your life that has also become one of the main lines in your new movie? And why Alois Piños music?

I remember Alois Piňose's music from the studies in Brno, where he then worked at JAMU. At that time I was fascinated by his experiments at the border of music and theater. Now my knowledge of his music was useful because the quartet was to play contemporary classical music best of the author of their parents' generation. At the end of the film we hear the music composed by one of the quartet members, which means a shift from interpretation to direct authorship. The old guideline is: if you can not say it, put the right music, it will say for you ... That's exactly what I did at the end of the movie.

What is the difference between drama and film overhead? What did you get to the movie?

Theater is freer than film and I feel better in it. When you need to stage a marriage dispute in the theater, you only need two actors and a stage. When you need the same thing in the movie, you need to build a living room with all the furniture. My film directories are actually just attempts to bring theater poetry into the film language. As a theater director I'm more or less realistic, which is appropriate for film direction.

Maybe it's premature, but do you think you'll continue in film direction?

In the spring I will direct a six-part series for Czech Television titled The Defeat of the Dejvice Theater. As it seems, he will discuss the destruction of Dejvická theater and I hope it will be fun. Another film project is so far that I will not talk about it, but if it happens, it will be something other than the Hanušovice hole or the Quartet.


Source: tz, PRESS KIT



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