{"id":45940,"date":"2025-02-03T11:42:00","date_gmt":"2025-02-03T10:42:00","guid":{"rendered":"https:\/\/sfu.sk\/novinky\/patrik-pass-juraj-krasnohorsky-pribehy-z-carovnej-zahrady\/"},"modified":"2025-02-05T10:05:45","modified_gmt":"2025-02-05T09:05:45","slug":"patrik-pass-juraj-krasnohorsky-tales-from-the-magic-garden","status":"publish","type":"novinka","link":"https:\/\/sfu.sk\/en\/news\/patrik-pass-juraj-krasnohorsky-tales-from-the-magic-garden\/","title":{"rendered":"Interview with Patrik Pa\u0161\u0161 and Juraj Krasnohorsk\u00fd about Tales From the Magic Garden"},"content":{"rendered":"\n

The feature animated film Tales From the Magic Garden<\/a><\/em>, which appeals to audiences beyond just young viewers, explores how storytelling can help cope with difficult life situations. A co-production between four countries \u2013 the Czech Republic, Slovakia, Slovenia, and France \u2013 with equal creative input, the film was crafted by four directors, one from each nation. Before the premiere of this omnibus stop-motion film at the Berlinale Generation Kplus competition, we spoke with Slovak director Patrik Pa\u0161\u0161 and producer Juraj Krasnohorsk\u00fd from the company ARTICHOKE<\/a>.<\/strong><\/p>\n\n\n\n

The film adapts the imaginative children\u2019s stories by Czech writer and playwright Arno\u0161t Goldflam. What drew you personally to his work?<\/strong><\/p>\n\n\n\n

Patrik Pa\u0161\u0161:<\/strong> Arno\u0161t Goldflam\u2019s book is a small collection of short stories that explores the search for hidden beauty beneath the veil of everyday life, and I believe it speaks to more than just children. The melancholy of irretrievable loss resonates with both young and old alike. Goldflam offers healing hope by showing that even the most seemingly ordinary and insignificant objects contain fragments of memories \u2013 beautiful, magical moments or connections to loved ones. I\u2019m grateful that the film is based on such exceptional literature.<\/p>\n\n\n\n

Juraj Krasnohorsk\u00fd:<\/strong> The stories from the book Of Unwanted Things and People<\/em> are written for children, but Arno\u0161t Goldflam has the gift of a storyteller who can speak to the child within adults of any age. I was captivated by his style, in which he addresses children as equal partners while maintaining a keen sense of their imagination and worldview, blending humor with just the right touch of magical realism.<\/p>\n\n\n\n

As a parent, I\u2019ve often grappled with how to properly discuss difficult topics with children, knowing that life isn\u2019t just about joy but also includes challenging moments. Goldflam\u2019s approach resonated with me in this regard \u2013 it feels both authentic and appropriate. This is why transferring his stories to film was so important to me. While there are plenty of animated films focused purely on entertainment, as a producer, I wanted to offer something more meaningful, knowing that children can handle and indeed need more substance. They\u2019re naturally curious about complex topics like death and grief. Goldflam manages to maintain his humor while addressing these subjects without diminishing their gravity.<\/p>\n\n\n\n

Patrik, how did you decide which story to work on?<\/strong><\/p>\n\n\n\n

Patrik Pa\u0161\u0161:<\/strong> I joined the collaboration on Old Apple Cores<\/em>, the Slovak segment of the film, when it had already been in production for several years. The Slovak part was initially developed by director Ivana Lau\u010d\u00edkov\u00e1 and later by Martin Smatana, before producer Juraj Krasnohorsk\u00fd invited me to rewrite the script, create the storyboard, and direct it. While I couldn\u2019t choose the short story since the project was already underway, I was fortunate because Old Apple Cores<\/em> suited me perfectly. It was dramatic enough to captivate young viewers with its adventure while being rich in motifs that allowed me to develop themes important to both me and the production.<\/p>\n\n\n\n

Was it the original intention to create the film as a four-country co-production, with directors from each country handling their respective stories?<\/strong><\/p>\n\n\n\n

Juraj Krasnohorsk\u00fd: <\/strong>We began working on the film in 2016 with Czech producer Martin Vandas. At that time, the idea of creating a feature-length animated film in Slovakia felt almost unimaginable \u2013 both due to financial constraints and the limited number of professionals in the country with expertise in animation. Our Slovenian colleague, Kolja Saksida, faced a similar challenge. Together, we devised a plan to unite four countries in producing four short films, always with the vision of ultimately merging them into a single feature. The short stories from Arno\u0161t Goldflam\u2019s book provided the perfect foundation. The turning point came when we won both the audience award and the main prize at the CEE Animation pitching forum. Encouraged by the feedback to strengthen the narrative cohesion, we brought in French co-producer Jean-Fran\u00e7ois Le Corre to help shape the project. Nearly a decade later, I can confidently say that this has been the most rewarding and creatively fulfilling collaboration of my producing career.<\/p>\n\n\n\n

How was it working on such an international project? Were you in contact with the other directors?<\/strong><\/p>\n\n\n\n

Patrik Pa\u0161\u0161:<\/strong> From pre-production to completion, the film took ten years to complete. Throughout this time, numerous in-person and online meetings took place between producers, screenwriters, and directors. I joined the project in its final three to four years, primarily focusing on the Slovak story. However, I also participated in several online discussions where we refined the overall concept and dramaturgy. These meetings were conducted in a friendly and collaborative atmosphere, where directors had an equal advisory role alongside producers. It was inspiring to see how teams from different countries could work together so effectively while preserving their individual creative visions. That said, I never had the chance to meet the other directors in person \u2013 only now, at the Berlinale, will I finally get to shake their hands.<\/p>\n\n\n\n

Since each story in the film was directed by a different director with their own team, maintaining a cohesive overall aesthetic was essential. To what extent did the individual directors have creative freedom in their approach, and conversely, what limitations did you have to navigate?<\/strong><\/p>\n\n\n\n

Patrik Pa\u0161\u0161:<\/strong> Visual and dramaturgical unity are crucial in a feature film as complex as this one. To ensure consistency, the character and setting designs were created by a single artist \u2013 the brilliant Patricia Ortiz Mart\u00ednez. The French segment became an exception, introducing a distinct artistic style. However, since this story serves as a realistic bridge between the fairy tales, it didn\u2019t disrupt the overall aesthetic. On the contrary, it reinforced the contrast between the real and the fantastical \u2013 an interesting nuance, given that even the \u201crealistic\u201d elements in the film are brought to life through puppet animation. The film\u2019s cohesion was further enhanced by Ad\u00e9la \u0160pajlov\u00e1\u2019s editing and the original score by Lucia Chu\u0165kov\u00e1.<\/p>\n\n\n\n

Juraj Krasnohorsk\u00fd:<\/strong> Everyone instinctively understood that asserting one\u2019s own ego would only be detrimental to the project. The atmosphere was incredibly friendly, and we ensured that wherever one team left off, the others could seamlessly continue. Despite the natural diversity of styles, we knew certain elements would unify the film: Patricia Ortiz Mart\u00ednez\u2019s artistic vision, Lucia Chu\u0165kov\u00e1\u2019s music, the editing, sound design, and the distinctive universe of Arno\u0161t Goldflam. We also paid close attention to countless details \u2013 using the same cameras, lenses, animation techniques, set materials, and colour palette. The directors trusted the producers, and the producers continuously shared feedback. It was a deeply collaborative process. I am convinced that the general audience won\u2019t even realize that each story was created by a different team \u2013 and that was exactly our goal.<\/p>\n\n\n\n

Patrik Pa\u0161\u0161:<\/strong> Each team adapted its story with its own screenwriters, but how these adaptations would fit together was carefully discussed in joint meetings. Assembling a film from independently created segments while maintaining a cohesive structure and narrative rhythm is a significant challenge. That\u2019s why I\u2019m especially pleased that our initial concerns about the film feeling disjointed did not come true. I believe this success is largely due to in-depth dramaturgical discussions and a shared willingness to adapt for the sake of the overall vision \u2013 often requiring extensive script rewrites. I deeply appreciate that the production team managed to preserve the creative spark of each individual team while ensuring everything served the larger whole. From a production standpoint, this was undoubtedly one of our biggest challenges.<\/p>\n\n\n\n

The film is made using puppet stop-motion animation, a technique that brought international recognition to Czecho-Slovak animation in the post-war period. Why did you choose this approach?<\/strong><\/p>\n\n\n\n

Juraj Krasnohorsk\u00fd:<\/strong> Precisely because this technique is so deeply connected to the animation tradition of Czecho-Slovakia. To me, Arno\u0161t Goldflam embodies the spirit of the so-called First Republic \u2013 I associate him with the positive values of our history. That\u2019s why his literary world naturally lent itself to traditional puppet animation. What\u2019s interesting is that this connection resonates not only with audiences here but also abroad. The first thing the film evokes for international viewers is the rich tradition of Central European animation. It\u2019s a well-established \u201cbrand\u201d that\u2019s worth building on \u2013 something that people worldwide instinctively associate with our region.<\/p>\n\n\n\n

What was the experience like for you as a director?<\/strong><\/p>\n\n\n\n

Patrik Pa\u0161\u0161: <\/strong>This was my first time working with puppet animation, and it was Juraj Krasnohorsk\u00fd and Marek Jasa\u0148, the lead animator for the Slovak segment, who encouraged me to step into the director\u2019s role. Afraid of letting them down, I prepared for the shoot as meticulously as possible. However, thanks to the incredible professionalism of my colleagues at Barletta animation studio \u2013 Monika Houdkov\u00e1, Matou\u0161 Valch\u00e1r, V\u00e1clav Fronek, Alan Soural, V\u00e1clav Krej\u010d\u00ed, and many others \u2013 I was able to seamlessly integrate into an already well-structured creative and production process. It was an incredibly rewarding experience.<\/p>\n\n\n\n

Although the film is aimed at a young audience, it also explores difficult themes such as death, aging, and family conflicts. How did you approach these topics?<\/strong><\/p>\n\n\n\n

Patrik Pa\u0161\u0161:<\/strong> I believe the themes explored in the film are among its most valuable aspects. At my age, I have experienced the loss of several loved ones, so I understand the emptiness that remains. Unfortunately, children are not spared from such experiences either, which is why it\u2019s important not to pretend that death doesn\u2019t exist. The film offers them a kind and reassuring hand, conveying the message that even in these moments, they are not alone. At the same time, it shows parents that conversations about loss and acceptance can be approached with hope.<\/p>\n\n\n\n

Juraj Krasnohorsk\u00fd:<\/strong> From the very beginning, we relied on Arno\u0161t Goldflam\u2019s text, as he masterfully found the right language and tone to address these difficult subjects. During development, I came across psychological research on how children process trauma, and I was particularly intrigued by studies on the role of storytelling in healing. Simply put, difficult emotions are generated in the right hemisphere of the brain \u2013 the center of creativity \u2013 while the left hemisphere helps us name and understand experiences. When painful emotions remain unnamed, they can become overwhelming and destructive. However, by verbalizing them \u2013 essentially moving them to the left hemisphere \u2013 we gain clarity and control. Storytelling plays a crucial role in this process. This is exactly what the characters in our film do \u2013 during difficult moments, they tell each other stories, initiating the healing process. It\u2019s important for the film to resonate with audiences emotionally. My ideal vision is to see grandparents and grandchildren coming to the cinema together \u2013 a film that bridges generations and encourages shared storytelling.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

Tales From the Magic Garden<\/a><\/em><\/strong>
Generation Kplus<\/p>\n\n\n\n

Screenings:
February 15 | 17:50 | CinemaxX 1 (market screening)
February 16 | 9:30 | Zoo Palast 1 (world premiere)
February 17 | 16:15 | Cubix 6
February 18 | 9:45 | Filmtheater am Friedrichshain
February 20 | 9:30 | Zoo Palast 1
February 22 | 10:00 | HKW 1 – Miriam Makeba Auditorium<\/p>\n","protected":false},"excerpt":{"rendered":"

Before the premiere of Tales From the Magic Garden at the Berlinale Generation Kplus competition, we spoke with Slovak director Patrik Pa\u0161\u0161 and producer Juraj Krasnohorsk\u00fd from the company ARTICHOKE.<\/p>\n","protected":false},"featured_media":45937,"template":"","meta":{"_acf_changed":false,"inline_featured_image":false},"kategorie_noviniek":[2145,2144],"festival":[2074],"rok":[2331],"class_list":["post-45940","novinka","type-novinka","status-publish","has-post-thumbnail","hentry","kategorie_noviniek-prezentacia-en","kategorie_noviniek-slovenska-kinematografia-na-festivaloch-en"],"acf":[],"_links":{"self":[{"href":"https:\/\/sfu.sk\/en\/wp-json\/wp\/v2\/novinka\/45940","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/sfu.sk\/en\/wp-json\/wp\/v2\/novinka"}],"about":[{"href":"https:\/\/sfu.sk\/en\/wp-json\/wp\/v2\/types\/novinka"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/sfu.sk\/en\/wp-json\/wp\/v2\/media\/45937"}],"wp:attachment":[{"href":"https:\/\/sfu.sk\/en\/wp-json\/wp\/v2\/media?parent=45940"}],"wp:term":[{"taxonomy":"kategorie_noviniek","embeddable":true,"href":"https:\/\/sfu.sk\/en\/wp-json\/wp\/v2\/kategorie_noviniek?post=45940"},{"taxonomy":"festival","embeddable":true,"href":"https:\/\/sfu.sk\/en\/wp-json\/wp\/v2\/festival?post=45940"},{"taxonomy":"rok","embeddable":true,"href":"https:\/\/sfu.sk\/en\/wp-json\/wp\/v2\/rok?post=45940"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}