STANISLAV SZOMOLÁNYI (1935, Bánovce nad Bebravou)

One of the most significant representatives of the cinematographic generation, which changed the face of Slovak film in the 60s. He co-operated with several directors, such as Martin Hollý or Stanislav Barabáš. n the center of his work are, however, the films he made with director Štefan Uher.

► What inspired the change of style that your generation introduced to Slovak cinema?

When I first entered the game as a cinematographer, I was not aware of a generational change. I focused on my work and it was not until we saw the resulting films that we discovered certain differences in the way of thinking and style of filmmaking between us and the older generation of cinematographers. These differences brought on the discussion of changing generations. I decided to make films with a desire of giving something of myself, I wanted to implement my way of seeing the world and my opinions into my films. It was more that just a matter of presenting a different taste. And it must be added that many colleagues starting their careers at the same time I did, shared my vision. Within the film crews, there existed a very creative symbiosis, we influenced one other and helped each other’s development and progress. The change of thinking came with the era.

► After graduation, you joined the Short Film Studio and started your collaboration with film director Štefan Uher. Did you find working with him a exceptional experience?

The essence of a cinematographer’s work is the ability to adapt to various film directors. Uher’s way of  handling images was similar to my own and so our collaboration went smoothly. Uher emphasized the language of the image and cut dialogues wherever it was possible. One could say that in his movies, the speech of the characters was replaced by cinematic speech. In other words, the image and the dialogues were equal elements of the film. For every cinematographer, this kind of direction is ideal. And also, Uher had respect for my profession.

► How was Štefan Uher different from other filmmakers you worked with in the past?

► The first movie Štefan Uher and you made together was the groundbreaking feature The Sun in a Net. What was is it like working on this film?

When shooting The Sun in a Net, we went for an authentic portrait of the life of young people. We  also wanted to express some meanings symbolically. Already back at the FAMU Film School, they taught us to express a notion through images – like joy or suffering. The Sun in a Net was just the kind of movie that I had wanted to make. My work was not only about solving technical tasks. I wanted to identify with every scene and I think this made an impression on Uher. There was a unique professional trust between us, which is the prerequisite of successful teamwork.

Excerpt from the interview published in The Organ DVD magazine (published by the Slovak Film Institute, author: Pavel Smejkal).