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        Beogradanin, Miloš Stojanović, proveo je oko tri godine istražujući i snimajući jedinstven i neponovljiv život i rad srpskog najpoznatijeg i svetski priznatog romskog pevača Šabana Bajramovića.

      Ovog meseca magazin CorD objavio je eskluzivni intervju sa Milošem Stojanovićem, autorom i režiserom ne-svakidašnjeg dokumentarnog filma ŠABAN. Ovom prilikom objavljujemo preuzet i prilagoden tekst za naše čitaoce.

       Vi ste jedan od beogradskih najprisutnijih pozorišnih giumaca, imajući u vidu predstave Doktor Šuster i Lari Tomson - Tragedija jedne miadosti, koje su izvodjene u Zvezdara Teatru preko dvesta pedeset puta. Šta je po vama razlog uspeha i trajanja ovih predstava?

     Pozoriišna urnetnost je vrlo slojevita i sačinjena od mnogo aspekata. Osnovna stvar je pronaći pravi scenario, strani ili domaći, a zatim ga sjediniti sa adekvatnom glumačkom postavom. Krucijalna komponenta koja vodi ka uspešnoj predstavi je režiser koji je otvoren za sugestije glumačke ekipe i svih drugih koji učestvuju u stvaranju umetničkog dela. Kada započne rad na predstavi fokus se pomera i glumci postaju ti koji udahnjuju život predstavi.

     With the actual commencement of the performance, the focus shifts and the actors become the ones who must provide convincing performances and breathe life into the play. Without teamwork, this is completely impossible to achieve: on stage, all performers become one. Following more than 200 performances, I believe this is the principal reason why Doktor Šuster has proved so popular among audiences.

      Each individual, if he digs below the surface of his being, desires to feel truly alive. Šaban’s music is a perfect recipe for this. To the sound of his voice, not only does your body start to move, but your heart and soul begin to tremble as well.

      After all these plays, I can conclude that the key factor of our triumph is the bond between the director and the cast and crew. The co-operation of all the people involved in making a play slowly gets weaved into the bond of a real family; a genuine “family connection”.

     One thing the audience may not be aware of is the sheer volume of rehearsals which have to take place in order for the play to be successful. A single scene is often practiced up to thirty times, and I assume this is where the bonding starts. My profession is somewhat like a marathon; you have to be like a long-distance runner with unlimited endurance.

      Personally, the motivation for my energy comes from the fact that I am acting in the plays of Dušan Kovačević, who is recognised as one of Serbia’s greatest playwrights. It is also very significant that I have the honour of being on stage with legendary performers, such as Jelisaveta Seka Sabljić and Petar Kralj. All these factors influence me to feel both personal and professional responsibility towards these people, but also towards the enchantment of performing arts

     I expected a more positive response from the people in the field of promoting humanity and culture. Unfortunately, during my work on the this film, things usually ended with just a few trembles of these people’s hearts and a couple of apologetic excuses, justified by how they had more important things to invest in and support. Isn’t beauty, after all, the very thing that is supposed to save the world? As a result of this lack of willingness to support the project, I can only say that I am very thankful to everyone who believed in this documentary and who participated in creating it. However, I am bitterly aware and sorry that things could have occurred a lot faster and better.  

      Šaban has the reputation of being extremely extravagant and problematic. How did you personally find it to work and co-operate with him?

      I attentively listened to his music and realised that he sings the truth. Truth was also the most important think I could offer Šaban. This is how we understood and acknowledged each other.

      The documentary reveals a very honest, personal and in-depth picture of Šaban’s life. How did you succeed in gaining such rare access to the real him, and how were you accepted by his family, friends and colleagues?

      From the very beginning of the shooting process, I was aware that Šaban is seventy-years-old, as well as that he is very sensitive, considering his way of living, and everything he has been through. I knew exactly what I wanted from him, and I was very pleased with our work, even through there were many surprises. Šaban still fascinates me in the same way he did before I actually met him. This is possible when you get to know a man who still drops a tear and thoughtfully engages in the lyrics of a song even though he has performed it a million times before

     My assumption is that it was also a great responsi-bility to put yourself in the shoes of the Director when you turned your talents to creating a film about the music of the Roma people. When did you first start developing an interest in this music?

 
      I began listening to Roma music in primary school. At that time, I was lucky enough to have a Roma classmate called Emil who played the violin expertly, even at such a young age. This fascinated me because through him I realized that the violin is not just an instrument for the Roma people, but also a way of earning money for survival. What is especially astounding about them is that they always play with their entire heart and soul. However, I think that it is most important that they do this with a naturally sincere smile. I believe that this perfectly portrays the nature of the Roma people, and this is the very thing which deserves great respect from all other nations, but also individuals.

    What made you decide to make a documentary film about Šaban Bajramović?
 

     In one period my life began looking like Emil’s backyard. Yugoslavia was disintegrating and things seemed to have no order or reason for being how they were; especially for artists like me. It was at that time that I first heard the record “A Gypsy Legend” by Šaban Bajramović and the band Mostar Sevdah Reunion, and to this day I remember crying.

    The atmosphere between all people involved in making this film was based on warmth, support and teamwork. I was open to all of Šaban’s suggestions and everyone was relaxed because of this understanding we all had towards each other. Very often, because of this good atmosphere, there was no division between cast and crew. This is something you can gain with mutual trust. 

      The documentary was shot in Mostar, Niš, Geneva and Paris, but there is also footage of Šaban’s concert’s in Novi Sad (The Exit Festival) and Belgrade. Was it exhausting and did you have any difficulties?

 
      My Greatest problem was time. I wanted to complete filming within three hundred and sixty-five days, but this ended up being drawn out over three years. On one hand, I had to pick the crew quickly and efficiently, and then pray to God that these people I chose would have the will and energy to travel to all these destinations with me. On the other hand, Šaban was very reluctant to allow people to film him, having in mind that many of his songs have been stolen, which greatly affected him.      

      Once again I have to say, that the very moment we built this close bond based on trust, I had complete access to him, and I think this comes across starkly in the film.

      How do you think the audience will accept the documentary and how, if at all, could this film help further demystify Serbia’s Roma music scene?

    What does the future hold for Miloš Stojanović?

    Famous Russian religious philosopher Berdyayev, said that two great challenges are given to the Christian part of mankind: the challenge of persecution, and the much more difficult challenge of celebration. Those difficulties, and the importance of remaining natural and optimistic despite all challenges we face in life, are the very topic of my docu-mentary. In the future I hope I will be given the chance to realise the other plans and ideas I have.

     What are your expectations from the premiere of the

     "ŠABAN"?

 
     I am sure no-one will remain indifferent after watching this film. Hopefully, after seeing Šaban people will still hear echoes of his magnificent voice and contented smiles, and that wide smiles, just like those of Šaban, will remain plastered to their faces for a long time afterwards.

      Kakva je reakcija na film, pokazaće vreme. Mi koji smo radili na realizaciji ovog filma, želeli smo da vizuelno i putem muzike približimo fundamentalna pitanja ljudske egzisten-cije. Qvaj film samo je okvir važnih tema, kao šo su sloboda i Ijubav, gde fudbal, pesma i sve druge stvari od esencijalnog značaja za Šabana u preplitanju zadiru jedna u drugu. Tako komplikovano, a tako jednostavno. To je upravo i odgovar na pitanje kako izgleda srpsko-romska muzička scena.

    Kakva  su sada vaša osećanja prema Šabanu Bajramoviću, posebno posle toliko zajed-nički provedenog vremena?

    Šaban me i dalje fascinira na isti način kao i pre našeg ličnog poznanstva. To je mo-guće samo onda kada imate sreću da sretnete čoveka kome i dalje kane suza i ozbiljno se zarnisli nad svakim stihom pesme koju je pre toga izveo milion puta, a zatim, kao da to nije dovoljno, ogreje vas svojim razoružavajućim osmehom.

šansu da radim sa njim, uprkos mnogim iznenadenjima koji-ma ja obilovalo snimanje.

    Atmosfera u ekipi koja je radila na filmu bila je bazirana na medjusobnoj podršci, toplini, timskom radu. Bio sam otvoren za sve Šabanove sugestije, a zbog dobre klime prilikorn sni-manja, često se gubila granica izmedu snimatelja i snimanih. To je nešto što može da nastane samo ako je odnos gradjen na istinskoj veri i poverenju.

     Dokumentarac Šaban sniman je u Mostaru, Nišu, Ženevi i  Parizu, a takodje obiluje snimcima Šabanovih koncerata u Novom Sadu (EXIT Festival) i Beogradu.  Koliko je sve to bilo naporno i šta vam je tokom snimanja bilo najteže?

      Moj najveći problem bio je neumitni protek vremena. Hteo sarn da završim rad na filmu bukvalno u trista šezdeset i pet dana, a ceo proces, imajući u vidu i post-produkciju, produižio se na tri godine. S jedne strane, morao sam brzo i efikasno da se odlučim za filmsku ekipu, moleći se dragom Bogu, da će ti ljudi imati dovoljno volje i energije da putuju na sve te daleke i zahtevne destinacije. S druge strane, sam Šaban bio je veoma nepoverljiv, irnajući u vidu njegova ranija negativna iskustva, pre svega to što su mu mnoga autorska dela pokradena.

      Ipak ponavljam, kada smo jednom uspostavili nit istine, bliskost je samo nastavila da se razvija kroz film i nadam se i verujem da se to jasno vidi u njemu.

      Kakvu reakciju publike očekujete i šta mislite o tome kako će ovaj film doprineti demistifikaciji   srpsko-romske muzičke scene?

  Only time will tell of the reaction of the audience to our documentary. I have to stress that those of us who created this film attempted to musically and visually portray the fundamental questions of human existence. This film frames some infinite themes such as freedom and love, where football, singing and all other things important to Šaban get weaved into one another: so complex, yet so simple. This is exactly how Serbia’s Roma music scene looks. 

    What are your current feelings towards Šaban Bajramović, after all the time you spent together?

      Šaban still fascinates me in the same way he did before I actually met him. This is possible when you get to know a man who still drops a tear and thoughtfully engages in the lyrics of a song even though he has performed it a million times before. As if all this isn’t enough, he then graces you with that disarming smile.

   That was when I realised that, in spite of all the darkness and bewilderment, love, just like the Roma people feel towards their music, can help overcome seemingly inevitable despair. That album, which has by now become as legendary as its title, has the magical power to move you beyond any time and place. Only at the moment you understand and appreciate this can you become aware of Serbia; its people, our history and the humongous significance of the Roma people in our everyday lives. The only way to show all these things to the world is via the big screen, and I was fortunate enough to have the opportunity to film how one man’s life, such as Šaban’s, has changed so many others.

       The EU has an interaction programme with the Roma population in Serbia. How did you find the reaction of the non-Roma population while you were researching and shooting this documentary?

 
      Whilst researching the resources for my movie, I discovered that Serbia has the largest Roma population in Eastern Europe. What is interesting is that when I mention Šaban’s name everyone knows who I am talking about, and they react with a smile. The smiles of these people are like mirror-images of the positive energy Šaban Bajramović possesses - he represents a living example of how to live life to the fullest.

      Each individual, if he digs below the surface of his being, desires to feel truly alive. Šaban’s music is a perfect recipe for this. To the sound of his voice, not only does your body start to move, but your heart and soul begin to tremble as well.

      During the realization process of my project, which should ideally be part of the interaction program which you mentioned in your question.

        Tokom realizacije ovog projekta, koji je trebalo da bude idealan deo interaktivnog programa koji ste pomenuli u vašem pitanju, očkivao sam više pozitvnih reakcija od ljudi iz oblasti koje promovišu humanost i kulturu. Na žalost, za vreme rada na ovom filmu, stvari su se obično završavale na tih nekoliko početnih treptaja srca tih ljudi kojima sam se obraćao za saradnju, kao i sa par finih izvinjenja obrazloženih rečenicama

        Zato bih ovim putem hteo da se zahvalim svima koji su verovali u ovaj dokumentarac i koji su doprineli njegovom stvaranju. Gorko sam svestan činjenice da su stvari mogle da

se odvijaju i brže i bolje.

         Šaban Bajramović ima reputaciju ekstremno ekstrava-gantnog i često problemaričnog čoveka. Kako ste vi lično saradjivali sa njim?

       Već sam rekao da sam ja ceo život pažljivo slušao njegovu muziku i shvatio da on peva isti- nu. Istina je jedino što sam ja mogao da ponu-dim Šabanu. Tu smo se negde našli.

      Ovaj dokumentarni film otkriva vrlo duboko ličnu stranu Šabanovog života. Kako ste uspeli da mu pridjete toliko blizu i kako ste bili prihvaćeni od strane njegove porodice, prija-telja i kolega?

          Lično, moja motivacija i energija odraz su činjenice da glumim u predstavama Duška Kovačevića, jednog od naj-većih srpskih pisaca. Osim toga, imam tu čast da budem na sceni sa legendama kao čto su Jelisaveta Seka Sabljić i Petar Kralj. Sve se to isprepletalo u mojoj profesijonalnoj i Iičnoj odgovornosti prema ovim i ovakvim Ijudima, a takodje i

      Pretpostavljam da je velika odgovornost za vas bila i staviti se u ulogu režisera i usmeriti sve svoje talente na kreaciju fiima o romskoj muzici. Kada je počelo  vaše interesovanje u tom pravcu?

      Počeo sam da slušam romsku muziku u osnovnoj školi. U to vreme imao sam sreću da sa mnom u razred ide Emil koji je svirao virtuozno violinu, tako mali. To me fasciniralo jer sarn preko njega shvatio da violina nije samo instrument za romsku populaciju, već

    Šta je presudilo da napravite  film baš o Šabanu?

    U jednom periodu moj život prilično je podsetio na Emilov dvorište. Jugoslavija se raspala i ništa više nije imalo pravi razlog, poredak stvari; pogotvu za nas umetnike. U to vreme, prvi put sam čuo ploču "Gypsy Legend" Šabana Bajramovića i Mostar Sevdah Reuniona, i dan-danas osećam  gorčinu tih suza moje potrešenosti. S druge strane, tada sam shvatio da

uprkos svom crnilu i haosu, ljubav, bas takva kakvu Romi imaju prema svojoj muzici, jedino može da pobedi razarajući očaj. Taj album, koji je u mdjuvremenu postao legendaran bar koliko i njegov naslov, imao je i ima tu magiju da pomera izvan prostora i vremena.

Samo tako, mogu se razumeti i ceniti jedan veoma bitan i prisutan aspekt srpskog postojanja; naši ljudi i naša istorija irnaju veliku otvorenost i odsjaj romske muzike u svako-dnevnom bitisanju. Učinilo mi se da jedino preko velikog ekrana postoji put da to pokažem svetu baš kao i to, koliko život samo jednog čoveka, u ovom slučaju Šabana, može da utiče i menja toliko drugih.

      Tokom prikupljanja izvora za film, suočio sam se sa činje-nicom da Srbija ima nqjveću romsku populaciju u Istočnoj Evropi. S druge strane, svaki put kada bih pomenuo irne Šaban, svako je tačno znao o kome govorim i reagovao os-mehom. Ti osmesi bili su kao odsjaj u ogledalu pozitivne energije koju Šaban Bajramović poseduje; on je živi primer kako se može i treba živeti život punim plućima. Svaki čovek, ako zagrebe ispod površine svog postojanja, ima žeju da oseti da je zaista živ. Šabanova muzika je pravi recept  za to. Na zvuk njegovog glasa, ne samo da telo počinje da igra, nego vam nezadrživo zatreperi i srce i duša.

        Sta očekujete od premijere Šabana?

       Siguran sam da niko neće ostati ravnodušan posle gledanja ovog filma. Nadam se  da će ljudi koji pogledaju ovaj film, još dugo čuti eho Šabanovog očaravajućeg glasa, i da će im na licu zaigrati širok osmeh, baš kao  Šabanov, i tu još dugo ostati.