Scriptwriter of the Month: Dario Bevanda

 

Last month we announced three scriptwriters who will travel to this year’s interfilm Film Festival in Berlin. In the following months we will introduce you to all of them. We start with Bosnian and Herzegovinian scriptwriter Dario Bevanda.

Dario answered our questions and after you finish reading this short interview, check out his profile and find a bit more about him and his work: meetthescriptwriters.com/scriptwriter/dario-bevanda/

What makes the 5 films on your Top 5 list so special?

It’s a list of films that I have a personal connection to. I remember seeing two of them (COOL HAND LUKE and BLACK PEARLS) when I was very little, in my grandmother’s house in Jasenica (a small place near Mostar). I didn’t remember their titles, but when I saw them again as an adult, I recognized them by a few scenes. Both movies took me back to the times when I first saw them. Because they were great works of art, I knew it wasn’t by chance that they stuck with me. As for THE BIG LEBOWSKI, it’s perhaps the film I’ve seen most times, and every time I enjoyed it more and more. It’s the first movie that I bought an original DVD of and definitively one of the best comedies ever. I think I’ve seen all films of John Carpenter, but his homage to RIO BRAVO, ASSAULT ON PRECINCT 13, is my favorite. I remember I taped it from TV, just as I was preparing for entry exams at the academy. I watched that tape many times since, probably wore it out. I’ve seen Neil Jordan’s THE CRYING GAME for the first time just a few years ago, and was hooked from the first shot, with camera panning across the bridge and carnival at the other side of the river, accompanied by Percy Sledge’s “When a Man Loves a Woman”. It’s subversive, mysterious and funny. It’s a mix of elements that shouldn’t work together, but somehow gel fantastically.

Why did you decide to go into film?

My background is mostly in theater. I’ve just started dabbling in cinema, in hopes that I have something worthy to say through that medium.

Commercial films or art house?

In general, I watch commercial cinema more, but currently I’m into modern European and Asian “art” films. I prefer genre cinema made with an auteur approach, especially old American noirs and horrors.

How and when did you begin writing?

I started writing my first screenplay in high school. It was an action movie that took place in Sarajevo, about a boy whose late uncle leaves him a bag of money. The uncle was a criminal, and the money a loot from a robbery, and uncle’s former partners now want to take it from the boy. I think I’ve made it to page two. I started writing a bit more seriously when I enrolled at Department of Dramaturgy at Academy of Performing Arts in Sarajevo.

Where do you like to write the most?

In shopping mall cafes, at a table near the power outlet (my laptop’s battery is long dead). There, the noise and music mesh to create a loud wall of sound that, oddly, helps me concentrate.

What kind of music do you listen while writing?

Whatever’s playing at the mall cafe. Sometimes you sit somewhere where you can hear two different songs playing at the same time. When I work at home, I try not to play any music.

Where do ideas come from?

For me, they can come from all kinds of places. Sometimes it’s a story you read in the newspaper, a comment you see on Facebook, a line in a song that you’re listening to. It can come from books you read, movies and plays that you watch, places that you travel to. Sometimes you suddenly think up a new approach to some old failed project, or get inspired by an argument you’re having with your partner, or something interesting comes to your mind when riding a bike.

If you could go anywhere in space and time, where would that be?

Yugoslavia before the war, 70’s or something. Perhaps try to stop people from screwing everything up.