All language subtitles for Jan Barton.ENG

What were your primary intentions
as a cameraman on this film?

My primary intention was to make

a full-length feature documentary
about Jan Saudek,

using film technology, so as to be
as unobtrusive as possible

with technical processes

and not bother
Jan Saudek in his atelier.

We used
high resolution HDV format

in combination with film lenses

because we knew
we were working on a film

that would be eventually screened
on a filmstrip in cinemas.

The filming wasn't much easier

than if shot
by classic film technology.

For example, as a condition to preserve
the true atmosphere of the atelier,

we used the actual lighting
combined with our production lighting,

to provide the correct
exposure we needed.

Although it could have
been filmed documentarily,

as a usual documentary,
we have done it most professionally.

We used two cameras,
color and black-and-white,

which we had to
synchronize together.

It might appear
the filming was simple,

but it was highly professional -

as regards the cameras,
lighting, and sound.

How did you get along with Adolf Zika,
who is also a photographer,

during the shooting of the film?

I had already worked with Adolf Zika
on commercials and music videos

before we began filming
the feature-length documentary.

We were already
used to each other.

Sometimes it can be difficult
to empathize with a photographer,

in this case two photographers,
but I knew what to expect.

With the previous experience
of working with Adolf,

our cooperation on this feature-length
documentary went smooth as well.

Adolf and Jan Saudek each
had their own concrete visions

about how they wanted
the scenes and the film to be

and my job was
to bring it to reality.

Mainly the director's
visions of course,

but even Jan would look closely
at shots every so often

to see how he looked on them.

He was always satisfied.